The defining idea behind the theories of John Dewey is that art is an aesthetic experience.
Experience in of itself can be classified in a myriad of ways. From pinpointed moments in time to set-apart periods and events, experience is a human categorization of timing throughout the duration of life. I assert, in agreement with Dewey’s theory, that art appreciation can be measured by the experience one has pre-, post- and presently encountering a work of art. I also maintain that a creator and the viewer, respectively, may each value a work of art differently through their experience interacting with it. Fundamentally, the initial premise of John Dewey’s take on art as an aesthetic experience stems from the idea that “experience occurs continuously, because the interaction of live creature and environing conditions is involved in the very process of living.” For Dewey, art is life-affirming and congruent with the existence of beings. Dewey often complained that the initial separation of art into its own classification occurred as human beings decided it should be so. In contrast to other theorists, his argument was that the act separating art from daily experience was the reason art became a floating concept, versus a regular occurrence. He was one of the first theorists to expound upon aesthetics in an in-depth manner and wrote with extensive analysis discussions surrounding famous artists such as Vincent Van Gogh, Henri Matisse, August Renoir, and Paul Cézanne. Most of his ideas could arguably be grounded in naturalism through the combination of life and human connection to the surrounding world.
Unlike other art theorists, John Dewey believed in preexisting qualities human beings inherently possess regarding creating art. The Stanford analysis of Dewey’s theory explained Dewey’s beliefs were unique due to “the nearly miraculous fact that something as complex and “marvelous” as art and aesthetic experience can emerge from the most basic units of life.” I believe that human beings are inherently blessed with a natural desire to have aesthetic experiences, but that they manifest themselves differently in every individual.
A parallel to my beliefs, Dewey liked to analogize his theory by mirroring examples of other professions. In one example he illustrated the way a mechanic is absorbed in his/her work. Through drive and passion for his/her craft, a mechanic may care more attentively to his/her tools and materials and in this way “is artistically engaged.” Similarly, a scientist might look upon her craft with devotion and feel inspired by the scientific analysis and work of her colleagues. In theory, the interests we share as human beings, although distinctive and individual, can subjectively be considered “beautiful” or to invoke “aesthetic emotion” based on our experiences with those interests.
In this way, Dewey noted, “An aesthetic experience is always an experience, but an experience is not always an aesthetic one. However, an experience always has an aesthetic quality.” Clive Bell, another theorist, believed that for art to be considered art, it must invoke an “aesthetic emotion.” Dewey’s theory, in contrast, denotes that the differentiating component of an aesthetic experience, was not necessarily an emotion explicitly, but an aesthetic quality that could potentially involve emotion. I agree with the broader categorization because, in line with Dewey’s ideas of self-fulfillment, sometimes a moment or experience can invoke aesthetic appreciation simply through completion or wholeness, although not necessarily aesthetically emotional connection. For example, “[Artwork] selects what is congruous and dyes what is selected with its color, thereby giving qualitative unity to materials externally disparate and dissimilar. It thus provides unity in and through the varied parts of an experience. When the unity is of the sort already described, the experience has aesthetic character even though it is not, dominantly, an aesthetic experience.” (p. 53)
According to Dewey, emotion needs to become part of an inclusive and persistent environment that encourages resolution of dilemmas surrounding objects and the objects themselves. Emotions must be tethered to an object or something physical that seems present in order to be part of an aesthetic experience. “Experience is emotional but there are no separate things called emotions in it.”
In marketing we often talk about how “the most human company wins.” This idea can be directly applied to art and craft as well. Any artist can be taught and trained to a T the same way as the artist next to them, but anyone who is copycatting artworks or just following someone else’s blueprint in artwork is not going to stand out as being authentic, because they are not! Now, I wouldn’t argue that someone should just start from scratch and relearn all the intimate details of their particular craft without mentorship or coaching, because I think it is smart to learn from our predecessors, however, I would argue that there is a moment when every artist ventures out to bike on their own and copying others’ work is just biking with training wheels on. For a biker to have competitive advantage in a race, he/she has to figure out how to move and master the bike on their own.
When approaching this theory through the design world, I think that it’s interesting how when a new technology is introduced, everyone goes crazy with using it because of its "uniqueness” … until it gets to the point where it isn't unique anymore. Suddenly everyone goes back to fighting to come up with something "human" again, and we return to our roots. But it's a continuous cycle and I think it will forever be that way. Innovation is great until someone tries to make it inorganic. I'm also interested to see how AI art changes the art world today.
Dewey would most likely argue in opposition to AI art. He communicated, “Art denotes a process of doing or making. […] The doing or making is artistic when the perceived result is of such a nature that its qualities as perceived have controlled the question of production.” (p. 53) As human beings, or rather, as artists, we have unique control over our creations. I believe our inherent desire to be creators stems from the Creator himself. Whether we practice a craft, master a skill, or devote our lives to the study of an art, we are beings designed to create. For this reason, I chose to watercolor as a demonstration of the theory of art as an aesthetic experience. I would not say I am a master at watercolor, nor have I been formally trained as such, however, I have spent hours and hours learning watercolor techniques. As life produces life, so do ideas produce ideas, and teachers create students, and so forth. My grandfather was a watercolor artist by trade. His instruction to me at a young age fostered my desire to create on my own. As a perfectionist in most outside situations, I struggled at first to enjoy watercolor due to my frustration at the lack of perfect representation. However, I, as the artist, gradually learned to appreciate art as an experience, regardless of perfect representation.
Like the reactions of my family members and the friends of my grandfather, art as an aesthetic experience also rewards the viewer. Dewey even argued that in the process of creation, “The artist embodies in himself the attitude of the perceiver while he works.” (p. 54) I love this statement because of my background in business marketing. The goal of every business is to reach the audience that will need and love their product or service. Correspondingly, sometimes an artist may create a work of art with the viewer in mind. In fact, many artists whose sole purpose is to display their art do just that. Dewey proposed this idea by saying, “The process of art in production is related to the esthetic in perception organically—as the Lord God in creation surveyed his work and found it good.” (p. 55) Artworks may also be defined by the opposing spectator. Because of these ideals, Dewey also asserted, “Until the artist is satisfied in perception with what he is doing, he continues shaping and reshaping.” To many, a work can only be finished when it would be perceived correctly by the viewer. Yet, in the end, the goal is the same; to reach the viewer through the final presentation of the work. (Or in some cases, through the successful execution of the artist’s end goal.)
My tiny paintings encourage art as an aesthetic experience through color, composition, form, and function. My goal with each piece was to embody the colorful sensibility of our Creator’s sky. My desire was to mix color and form to guide the viewer's eye towards certain elements of each piece. In piece #1, the focus is the clouds, with rich color and juxtaposition of the soft scene below. Piece #2 directs the eye towards the sea, as it sits almost hidden. In piece #3, the mountains stand strong with water working together to emphasize their grandeur. Piece #4 leads the eye towards the setting sun, providing a journey through the colors leading towards it. I wanted to create tiny paintings as a way of establishing connection between different moments of life. I would hope a viewer would consider their place in this world in relation to the creations that surround them when viewing my paintings.
“Hand and eye,” Dewey affirmed, “when the experience is aesthetic, are but instruments through which the entire live creature, moved and active throughout, operates. Hence the expression is emotional and guided by purpose.“ (p. 55) Were my art works to be displayed in a 3D gallery space, I would hope this sort of reason would culminate my viewers’ experiences. Dewey’s theory is conclusive. “In short, art in its form, unites the very same relation of doing and undergoing, outgoing and incoming energy, that makes an experience to be an experience.” (p. 54)
Works Cited
Chaliakopoulos, Antonis. “Art as Experience: An in-Depth Guide to John Dewey's Theory of Art.” The Collector, 18 Oct. 2020, https://www.thecollector.com/johndewey-theory-of-art-as-experience/.
I referred to this source when refining my ideas on experience as a whole, and experience as determined by John Dewey.
Feagin, Susan L., and Patrick Maynard. “John Dewey.” Aesthetics, Oxford University Press, Oxford, 2010.
I pulled most quotes directly from Art as an Aesthetic Experience as sectioned by this compilation.
Leddy, Tom, and Kalle Puolakka. “Dewey's Aesthetics.” Stanford Encyclopedia of Philosophy, Stanford University, 24 June 2021, https://plato.stanford.edu/entries/deweyaesthetics/.
This source expounded on John Dewey's theory in relation to life and naturalism.
Stroud, Scott R. John Dewey and the Artful Life Pragmatism, Aesthetics, and Morality. Penn State University Press, 2015.
I consulted this source for additional viewpoints on his aesthetic theory.
