There is no doubt that the arts very much inform the era and the society that they inhabit. As time wearily presses on towards unknown futures, the arts enhance, decorate, and establish the present moment into what we come to remember it by when it becomes the past. The arts, combined, create the time capsule of contemporary voices that were speaking the loudest; before the next generation took over in this relay race of artistic expression that perpetually augments our world, and pushes it somewhere else.

Some of us look back on certain eras more fondly than others. Perhaps we think the music was better, the theatre scene more lively and enigmatic, or the art world more believable. Is it change that we reel against, or are we so wrapped up in our own nostalgia that we relate far more to the artists of ‘our time’, ‘our youth’, ‘our childhood’? And if sections of our own life were plagued with bad memories or unsavoury events, do we see the arts or the styles from those times comparatively more distasteful or triggering?

For some of us, we are looking back longingly towards a time that we never did live within, preferring all that was created decades, even centuries, before our birth. As someone who very much fell into this category and still does, I still believe that it is important for all of us to seek out the arts that captivate us, both from the past and the present. There are no rules, of course, but the more that can be experienced and enjoyed, the better.

However, it does fascinate me that certain past eras throughout history speak to different people, even if they never lived it themselves. Personally, I have always felt weirdly close to aspects of the 1900’s, the 1930’s, and the 1950’s/60’s. From the clothing, accessories, and interior design, to their music, art, and theatre, I would even delight in the small simplicities of these periods, including illustration styles, fonts, and knick-knacks. I like to think that perhaps the reason for my misplaced nostalgia is a subconscious attempt to rekindle the high points of a past life.

But, whether or not that could ever be true, I have come to realise what I love about these bygone ages are the artistic endeavours that they are identified by. For, although, every era can be defined, more seriously, by the politics, wars, ethics, morals, social etiquettes, and standards in health, all of us who have not lived through it to fully understand the weight of these differences, are left with its superficialities. We are left with the fairy tale, documented in the stories, the paintings, the music, the fashions, and the daily items iconic to the time. We can cherry-pick the pretty things, dive into the minds of the artists, who, seemingly, even within the turmoil of destitution or depression, had managed to create something beautiful. And if it wasn’t beauty in the traditional sense, it contained a humanness or uniqueness that shared the palette of emotions attributed to a particular time through the lens of the artist, becoming something we still crave and relate to today.

As the years have rolled by, we might have solved some of the problems of our ancestors, and yet new problems have sprouted for newer generations. No time has been without its issues. We might look back with a faux nostalgia to these past decades that we have not endured, thinking that they are better than the era in which we were born. But is that not because we benefit from having an aerial view of these time periods? We can see them in totality. We can see the ends of the wars, we can see the triumphs, the social changes, the improvements, the positive transformations, as if we are looking into a crystal ball. We can enjoy the artists and their art all at once, envisage their whole careers, and take the rough with the smooth in regards to their characters. We can sort out the favoured styles and fashions for ourselves, admire the architecture, paw over the handiwork and craftsmanship of old objects and artifacts, many of which would have only ever been worn or purchased by the classes who could afford it. Essentially, we mine the past for its inherent gems, salvaging the best while discarding the rest, never truly having to come face to face with its reality… because we don’t have to.

This is the privilege of the present moment. We are allowed to look back and take inspiration from the art and artists that take our fancy. We are allowed to enjoy that catalogue of work that has been created before us and learn from it, enjoy it, and allow it to become an integral and important part of our current lives, surrounded by the juxtaposition of newfangled things. We are allowed to pull things from different eras and mix them together just for fun. And yet, where do we draw the line?

A love and nostalgia of different eras is one way to fill our lives as individuals because it is part of experiencing the extent of what humanity has to offer. But when it dominates the art industries themselves, do you not think we would have a problem?

We forget that perhaps, future generations might look back on our time with a similarly weird wistfulness. Although it might seem farfetched, even ludicrous, we do not know how the future may unfold in such a way that generations many years to come will be experiencing a life so different from ours, that the best bits of today will be what they yearn for.

However, what is it that they will be yearning for, if the majority of our creative output within this time is focussed on nostalgia and remakes?

If we are not careful, we will become an era or a generation with so little that defines us as far as the arts go, which would be a great sadness. We cannot let it happen. There is nothing wrong with supporting performances or exhibitions of the works by the artistic greats of days gone by, simply for cultural and educational purposes. But they cannot wipe away all hope and opportunity for the art that is created in the here and now. It is easy to uplift the art and artists that have come before us because they are a safe bet. Their success has, in many cases, already transcended many generations and remained highly sought after. And, the artists themselves, now passed on, are no longer needing to be paid. These are two areas in which a modern creative individual cannot compete- they do not have centuries of success behind them, nor do can they afford to be unpaid.

The arts don’t have an expiration date, which is why our own creations are equally as important as those of the past. As artists, it is dangerous for us to believe that things were easier in the previous decades that we have come to admire and make that an excuse as to why we shouldn’t bother to pursue our creative ambitions in our own times. Maybe we think we can never live up to their standards, or maybe we believe that whatever we have to offer has no value in comparison. Whatever it is, it usually is incorrect. For, it is the artists that are fearless enough to try that are usually the ones that are remembered, subsequently forming and morphing their era into something alluring and interesting, and potentially what they want it to be. Inherently, it is our job as an artist, no matter what artform we practice, to take the reigns and fill the world with style, beauty, passion, and optimism. We get to choose which set of rose-tinted glasses will be worn and what shade of sentimentality will be felt when they think about what we had. We get to create the fantasy future generations will come to believe, so please, let’s make it a good one. Let’s make the people of the future want to escape to our time.

Creativity is about risks, boldness, and bravery, not just on the part of the artists themselves, but also on the part of the industries, the companies, and the moneymen, who should have the gall to take a punt on something new, rather than staying safe and unequivocally boring. Newness should not be feared, for nostalgic art will never be era-defining, and likely will not be remembered with the same enthusiasm as the distinctive works of the past.

As much as it isn’t about remakes or replays, nor is it about pointlessly pushing the boundaries or shocking audiences unnecessarily. Instead it is about finding artists who create something that is unique to them, that has an inherent beauty or character that cannot be found elsewhere, and something that speaks to and of the generation that they inhabit in a way that is distinguishable and not manufactured. The art that transcends eras is either outrageously bold or enchantingly captivating. It has something that continually draws attention to it and immeasurable depths that can long be explored. Maybe it does draw from ancient themes, or perhaps it redefines what it means to be modern, nevertheless, it is created by someone living and breathing and is entirely new from concept to creation.

It is these artists that deserve a chance to be heard or seen, and not passed over for things that exist wholly for the purpose of making money in the most inauthentic of ways (which ironically seems to end in loss rather than gain). For the world is a-changing, and what once might have flown over an audience’s head is now so easily recognised. We are so tired of the obvious low-effort cash-grabs. We are so tired of being fed the same stories again, and again, and again. We are so tired of witnessing a descent in quality and yet a hike in price.

The world is a huge place full of creative people making wonderful things. Do we want to miss out on celebrating these artists while they are alive, while they are still able to speak about what they are doing and why they are doing it? Or is it only about exploitation, taking advantage of their work once they are dead and easy to control?

I hope it is the former, don’t you?