Levinson: Pleasure and the Value of Art


Art has, predominantly, been judged on the basis of whether or not a viewer or audience derives pleasure from it. While artistic value and sensual pleasure are intrinsically connected, however, art does not gain its intrinsic value by simply being viewed as pleasurable to endure. In order to bridge this connection between art and pleasure, one must take into consideration certain caveats. If a work of art is capable of being pleasurable, is it able to do so, consistently? Is this manner of enjoyment consistent with the intention of the artist? Are the emotions generated by the work primarily positive, and if not positive, was the experience at least fulfilling?

Many times upon engagement with a particular work of art, we may find that our initial exposure toward the work may produce much more pleasure at first as compared to numerous or repeated viewing of the work (Levinson 12). When the novelty and uniqueness of the experience has subsided, are we still enraptured by the work of art? Does the work of art only have a limited appeal to a particular person, or context in which it is viewed?  In order for an object’s artistic merit to be viewed, one must consider its capacity to continuously and consistently yield pleasure to many people at various times.

 Distinct from a temporary and overtly sensual experience derived from a physiological response, the pleasurable effect of art must be imbibed as an in-depth and involved process (13). A movie cannot be enjoyed simply due to the fact that it was viewed within a cool theater on a hot, Summer day. The pleasure of embarking upon the experience must not be confused, or superseded the pleasure derived from the work, itself. 

Further, one’s enjoyment should not derive from any personal bias or agenda. While pleasure may be derived from an artist seemingly agreeing with personal opinion or desires, aesthetic pleasure should be wholly independent from these. Aesthetic pleasure, in its purest form, must arise from one’s engagement with the object in question, independent of any personal feelings attached to the art or the artist (16).

However, it must be addressed that in order for art to be effective, it need not necessarily yield a response that can be construed as “pleasurable.” Good art, many times, presents viewers with material that may be considered challenging, emotionally difficult, aesthetically repellent, or even morally objectionable -- however, while these qualities may not necessarily be considered “pleasurable” regardless, they still affect the viewer in deep, emotional ways. 


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