Understanding the Cognitive Value of Art for Today's Art Collectors

Collecting art is about more than just gathering beautiful pieces—it is a journey into understanding the values and meanings behind artworks. It helps us appreciate their cultural, moral, and educational significance. By exploring the philosophical ideas behind the value of art, we can learn about how character, context, and virtue work together. This article looks at the arguments made by Jacob Berger and Mark Alfano (2016) in their paper Virtue, Situationism, and the Cognitive Value of Art and focuses on practical lessons for art collectors. By understanding these ideas, collectors can add pieces to their collections that are not only beautiful but also carry deeper intellectual and ethical meanings.

The Cognitive Value of Art: A Philosophical Overview

The idea of cognitive value is important for understanding why art is meaningful. Cognitive value refers to art's ability to teach us something—not in a scientific way, but by giving us insights into human experiences, emotions, and morality (Graham, 1996). Berger and Alfano (2016) say that art can be seen as a way to communicate ideas about virtues, morality, and even the complexities of human behavior. This means that art is not only about looking good but is also an important tool for teaching us how character and context influence actions.

For the art collector, this means thinking about a collection not just as a group of valuable pieces but as a collection of human experiences that represent different parts of the moral and intellectual world.

Virtue Ethics and Art: Challenges of Representation

Virtue ethics focuses on developing good character traits like courage, honesty, and generosity, and these traits are often shown in different types of art (Aristotle, 1984). However, Berger and Alfano present a challenge to this view, called situationism. Situationism suggests that a person’s behavior is highly influenced by their situation, which means character traits like courage or honesty may not be as stable or consistent as people often believe (Doris, 2002).

From a collector’s perspective, it is important to understand the value of artworks that show virtue while being aware of the situationist critique. Art that shows idealized characters who consistently show virtue may represent good role models, but this philosophical debate points out that these models can sometimes be unrealistic. Collectors might therefore look for pieces that more accurately show the complexity of human behavior, such as works that show how characters respond differently depending on their situation. This complexity adds depth to a collection by showing not just ideal virtues but also how virtue can be fragile and influenced by context.

Interactionism: Art as a Bridge Between Character and Context

Instead of dismissing virtue-based art, Berger and Alfano propose an interactionist view. This means that art teaches us about how personality and context interact. Art can show us not just how virtuous people behave, but also how their environment and circumstances affect their actions. This perspective helps us understand that human behavior is rarely consistent and that the context plays a major role in shaping our actions.

For an art collector, this interactionist approach suggests focusing on works that show this relationship between character and context. Pieces that highlight situational pressures—through narrative scenes in paintings or sculptures that show struggle and change—can provide a richer and more realistic view of human nature. For example, a piece of art showing the complexities of a hero's choices in different situations can show how ideals like courage or honesty are challenged by real-world influences.

Examples of Art Illustrating Moral Complexity

To apply this interactionist approach, it helps to look at examples from literature and visual arts that show the complex relationship between character and situation. For instance, Richard Wright’s Native Son tells a powerful story about how social expectations and racial prejudice shape the main character, Bigger Thomas, leading him towards violence (Bloom, 2007). The novel reminds us how outside forces can affect internal reactions, often with tragic outcomes. Similarly, art collectors might look for works that show the tension between societal expectations and personal choices, especially pieces by artists whose work deals with themes of identity, power, and resistance.

In visual art, many contemporary works show this complexity. Consider the works of Kara Walker, whose installations often show historical and social themes, including race and gender. Her silhouette scenes highlight the deep influence of social power structures on individual actions, showing how human behavior is shaped by more than just internal virtues.

The Situational Influences on Behavior: Learning From The Past

The discussion about situational influences draws on evidence from social psychology, including famous experiments like the "Good Samaritan" study by John Darley and Daniel Batson (1973). In this study, seminarians failed to help a person in distress when they were in a hurry, showing that even moral individuals can be influenced by trivial situational factors. This example has important implications for how art collectors understand virtue in art.

Art that shows people struggling with moral decisions in high-pressure situations—where external factors influence their choices—can be very instructive. Art collectors might focus on works that show these moral complexities and explore situational ethics. For example, paintings that show moments of hesitation or the consequences of morally complex decisions help capture the human condition in a way that connects with current debates about ethics and behavior.

Building a Collection that Emphasizes Cognitive Value

To build a collection that highlights the cognitive value of art, collectors can use the following strategies:

A. Choose Art that Reflects Complexity in Human Behavior

Rather than focusing only on idealized images of virtue, look for works that show nuanced, complex characters. Collect pieces that explore moral dilemmas and show how external situations can influence choices. This kind of art not only looks interesting but also engages viewers intellectually, encouraging them to think about what they would do in similar situations.

For example, art inspired by literary works that deal with ethical issues, like the plays of Sophocles or novels like George Orwell's 1984, can add layers of meaning to a collection. These works show how characters respond to oppressive systems or conflicting duties, offering insights into the challenges of living ethically.

B. Explore Diverse Perspectives on Virtue and Vice

Virtue and vice are not fixed or universal—they change across cultures and contexts. Art collectors should consider works from diverse cultural backgrounds that show different interpretations of virtue and moral behavior. Traditional Asian scroll paintings, African tribal sculptures, or Indigenous art from the Americas often include moral lessons specific to their cultures, offering different perspectives from Western ideas of character and morality.

C. Focus on Interactionist Themes

Collect pieces that emphasize the interactionist themes discussed by Berger and Alfano. For example, contemporary artists like Banksy often create works that comment on social and political contexts, showing how these external factors impact individual behavior. These pieces can make interesting additions to a collection, reminding viewers of the complex relationship between environment and actions.

D. Incorporate Narrative-Driven Art

Narrative-driven art—art that tells a story—is a great way to show the interaction of character and situation. Collectors might choose works that depict myths, historical events, or personal stories that reveal something about human character. By emphasizing storytelling, collectors can build a collection that not only looks good but also stimulates the mind by providing insight into the moral choices people face.

Practical Applications for Art Collectors Today

The ideas discussed by Berger and Alfano give collectors tools to think more critically about the art they acquire. Here are some practical tips:

• Assess the Narrative: When considering a new piece, think about the story behind it. Does it show an idealized character, or does it reveal something about the relationship between character and context? The latter often has more cognitive value, prompting reflection on the factors that shape behavior.
• Curate for Conversations: Build a collection that encourages discussion about moral and ethical themes. Works that capture the fragility of virtue or the influence of social forces can spark interesting conversations among viewers, making the collection more engaging.
• Seek Dynamic Works: Look for art that shows movement or transformation, either literally or symbolically. These pieces can represent the ongoing interaction between internal virtues and external pressures, supporting the interactionist perspective.

Conclusion

The cognitive value of art goes beyond its beauty; it teaches us about human nature, virtue, and the contexts that shape our actions. For today’s art collector, understanding these elements is key to building a collection that resonates both intellectually and emotionally. Berger and Alfano’s exploration of virtue, situationism, and the interactionist perspective encourages collectors to look beyond simple images of virtue and seek out works that tell deeper, more complex stories—stories that reflect the real relationship between character and context.

In the end, collecting art can be a way to not only celebrate beauty but also engage deeply with the philosophical questions that define the human experience. By thoughtfully incorporating these insights, collectors can curate collections that serve as both cultural treasures and educational tools, providing lasting value for future generations.

References

Berger, Jacob, and Mark Alfano. “Virtue, Situationism, and the Cognitive Value of Art.” The Monist 99, no. 2 (2016): 144–58. http://www.jstor.org/stable/44012742.