A Conversation with Saul Kane
“Music can be defined by it’s era and what that time is weighing on the soul. For example the climate crisis. Confirmation of the end of the world. There was a chance to change things, we were warned, we need a drastic change for humanity – surely when it comes to the human soul, we want the earth to continue more than we want oil and making a fuck ton of money. Especially considering the face of this movement was a women (Greta Thunberg) and the misogyny she faced, people dismissing her ideas – she was holding rich men accountable which people didn’t take seriously, like Trump for example. She was making a mockery of them and the people causing these problems acted pathetically. An era of people feeling discontent and powerless and so the art created will reflect that. A year ago I wrote about it as I thought it was almost a duty to acknowledge that this crisis is a part of me as it is everyone. A song named ‘What A Time To Be Alive’ is me being ironic because it should technically be the best time to date and yet none of the things that should be improving are. I feel that growing up there was an illusion that modernity means things will get better but the promise of tangible future, has been betrayed by people who have reached a limit of what were willing to sacrifice.”
– Saul Kane
Postmodernism and the Evolution of Art
Previous to dissecting the art world in relation to it’s current meta modernist context, it is important to examine the movements that preceded it in order to better reflect upon philosophical creativity. These historical shifts offer valuable insight into how collective societal values and behaviours shape art created, and in turn, how new artists today can navigate the complex landscape of defining success in both personal and institutional terms. The world has moved through a post-postmodern era, where the skepticism that once dominated has been intentionally rejected as a means of searching for something beyond the ‘end of history.’ However, the philosophical underpinnings of postmodernism still cast a long shadow, leaving a lasting effect on our interactions with the self and the art it creates.
The modernist period, characterised by it’s belief in the potential for human betterment, emerged as a reaction against the constraints of religion and tradition. Thinkers like Friedrich Nietzsche, with his declaration that ‘God is dead and we have killed him,’ encapsulated the modernist shift away from religious morality towards a more individualistic approach to ethics. The Enlightenment had already encouraged a reliance on science and technology, rather than faith, to provide answers to one’s life’s questions. However, the promises of scientific rationalism did not lead to the utopian vision many had hoped for. The Industrial Revolution, while bringing technological advancements, simultaneously exposed and embedded the injustices of capitalism – prompting many modernists to dream of a classless society. This optimism, driven by Marxist ideals, was seen by many as an inevitable shift towards a better world, even if it had yet to be realised. However upon the realisation, as stated by Mark Fisher that ‘it is easier to imagine the end of the world than the end of capitalism’, a step into the post modernist era was taken.
Modernism was subsequently overshadowed by the postmodern era – a period defined by skepticism, relativism, and a rejection of grand narratives. The postmodernist mindset questioned the very notion of universal truths, instead embracing the idea that all knowledge is shaped by it’s own culture and context. In this environment, the young artist is confronted with the challenge of defining their own path and determining what it means to be “good” at art. The notion of “success” becomes increasingly subjective and fluid, shaped by an array of personal, political, and cultural factors.
How Movements Shape Art and the Artist’s Role
“It has to exist separately from needing to achieve something, it must come from a genuine feeling. Its an urge.”
The art of any era is deeply influenced by the prevailing cultural and philosophical currents. In the postmodern era, characterised by an overwhelming sense of disillusionment, artists must contend with a world that no longer offers clear answers. If, as postmodernism suggests, all knowledge is relative and there is no objective truth, how can an artist define what “good” art is? How can one assess their own work in regard to personal fulfilment and institutional success.
The transition from modernism to postmodernism has been marked by a rejection of many of the ideals that once governed the creation and appreciation of art. In the modernist period, art was often seen as a vehicle for progress, self-expression, and the search for meaning. Postmodernism, however, embraced irony, pastiche, and the deconstruction of establishments. Artists began to question, should art exist purely for aesthetic pleasure, as in the modernist tradition? Or should it serve a more provocative function, challenging societal expectations and exposing uncomfortable truths? From this, one must ask if they are artistically fulfilled within their self, which cannot be answered without a standard for what fulfilment feels like.
In the face of such uncertainty, artists must grapple with a range of competing motivations. Some may create for the sake of personal expression, while others seek to make a political statement or provoke a change. In this context, the very definition of success becomes multifaceted. In the past, the pursuit of art was often seen as an almost sacrificial endeavour, exemplified by figures like the Romantic poet Thomas Chatterton, who died young, driven by his unrelenting passion for his craft. The modernist era, too, saw artists as individuals striving to transcend conventional boundaries in search of higher truths. However, postmodernism complicates this narrative. The era’s emphasis on skepticism and uncertainty has made it more difficult to define art solely in terms of formal aesthetics. The artist’s relationship to their work is now shaped not only by personal ambition but also by the cultural forces at play. In a world where success is often measured by institutional recognition, artists are left to question the very purpose of their art within a tainted institution.
End of part 1.
To be continued.
Written By: Rosie Alexandra
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