has, for a number of decades, no longer represented a rejection of tradition. While some artists and scholars recognize this, and others do not, this is not the issue.
One must turn to the so-called post-modern, a declining subset of modern perspective, to find puerile desertions of reason and meaning at play. The modern, as a matter of course, continues to repudiate the specious, the false, and the failed, in terms of culture, politics, and social perspectives.
With this understanding in mind it is evident that the dominant artistic vision promoted in the global marketplace, in terms of contemporary expression, is nihilistic in nature. In those visual and musical arts directly associated with the mass media, this outlook serves as propaganda for totalitarian statist
purposes, in that it reduces cultural communication to impotent, manageable and predictable forms of divisive absurdity at odds with those in favor of individual liberty and freedom of thought.
The artist who believes otherwise acts accordingly, regardless of all risk, and it is effortless to take into account the essential nature of the resulting works. These are forward-thinking, rational, and, most provocative to elitists, expressions that link the audience to experiential reality, rather than diverting attention toward spurious, illiberal ideals.