Why We Need Art: Lessons for Business from the Human Experience

At first glance, art may seem far removed from boardrooms and balance sheets. Executives focus on capital allocation, market expansion and shareholder returns, not brushstrokes or sculptures. Yet, when we look closer, art is not peripheral to business; it is central to understanding human experience, interpreting cultural values and even analyzing corporate (mis)strategy in media and entertainment.

In my latest teaching case, I explore what art means in society and how it intersects with media and entertainment businesses.

The case follows Alex, a thoughtful MBA student whose encounter with art at the Guggenheim prompts deep reflection about creativity, commerce and culture. By blending art history, cultural theory and corporate finance, the case invites students, and executives, to grapple with seemingly simple questions: Why do we need art? What is art? What is the consumer journey through art? What is the nature of the relationship between the consumer and artwork?

From Cave Walls to Conglomerates

Human beings have turned to art for tens of thousands of years. Paleolithic cave paintings signaled survival knowledge, while Renaissance masterpieces celebrated human achievement and religious devotion. Across cultures, art has carried symbolic weight, preserving identity, inspiring awe, sparking social critique, and serving as a destination for social connection and shared experience.

Today, media conglomerates such as Disney, Sony, Comcast, and Warner Bros. Discovery hold sprawling portfolios of creative assets. Their portfolios range from television and streaming to film to gaming to theme parks. And their balance sheets and SEC 10-K filings show that creative works are not just cultural artifacts but also economic drivers.

Understanding this tension between artistic expression and financial imperatives lies at the heart of the case. Executives and creatives don’t always have the same key performance indicators in mind, and what they experience making art can be vastly different. Moreover, creatives are trained in storytelling more than business, while executives are trained in business more than storytelling. So, what can we learn from this dynamic?

Bridging Art and Business

There are several theoretical lenses that help us make sense of this tension:

- Bourdieu’s cultural capital explains how familiarity with art confers social advantage. A Basquiat reference at a cocktail party can signal status just as surely as a degree from an Ivy League school. How many of us are experts when it comes to art? Does it still matter today?

- Adorno and Horkheimer’s culture industry critique shows how mass-produced culture risks flattening creativity into commodity. There has been a massive push toward exploiting established intellectual property from one platform to another, such as television to video games or to movies. What is the trade-off?

- Engagement and uses-and-gratifications theories highlight why audiences seek out art and media to fulfill the need for identity, escapism, or emotional resonance. As media executives, what do we expect our customers to use media for? What gratifications might they anticipate from it? Identifying these expectations allows us to enhance precision in content creation and marketing strategies to effectively address audience needs.

Taken together, these theories suggest that art is both a human necessity and a business opportunity.

Why It Matters for Executives

For business leaders, understanding art’s unique characteristics is crucial for strategic decision-making.

Unlike a refrigerator, smartphone, or desk — goods built for consistency and utility — art is painstakingly created, often with varied timelines. Its resonance varies widely across individuals and contexts. As Daniel Berlyne’s work on arousal and preference suggests, there is often a “sweet spot” where a stimulus is both appealing and preferred, drawing us in while also prompting action.

Art also allows us to step outside reality. It complicates perception, unsettles us, and invites a process of deconstruction that requires surrender. At the same time, drive reduction theory reminds us that humans seek balance. Art can disrupt that equilibrium —  beliefs, perceptions, assumptions — pushing us into discomfort that demands resolution. Yet the return to balance can leave us changed, motivated, inspired and reoriented in ways that more utilitarian products rarely achieve.

These psychological dynamics translate into concrete business implications. A review of SEC 10-K filings from major media conglomerates shows how creative assets appear in corporate strategy and financial reporting, underscoring the measurable impact of artistic properties on revenue streams and strategic priorities. This fusion of humanities insight and financial analysis challenges managers to evaluate art not merely as product but as cultural force.

For business leaders, the implications are clear:

- Creativity and commerce are inseparable. Art is not merely ornamental or an ego-driven display; it is an asset class with tangible financial and cultural returns.

- Managing creative risk is strategic. Companies that balance financial discipline with respect for artistic authenticity are better positioned to foster loyalty and cultural relevance. Overexposure, however,  can dilute franchises and diminish long term value. How much exposure is necessary? When is art overexposed? How often and how much do consumers need to engage with art?

- Culture shapes markets. Audiences bring expectations shaped by their cultural background and media consumption habits, and companies may benefit from considering these factors. The rise of a streamlined media economy, with apps such as TikTok that curate and deliver content to users, raises questions about whether this affects the process of discovering new content and sharing it with others. Are serendipity and discovery still essential to human life?

Ultimately, the case encourages executives to view themselves as custodians of organizational culture. In a manner similar to how investors assess both the intrinsic and market value of highly sought after art, leaders are responsible for considering the impact of their decisions on the cultural and creative environments in which they operate.

Looking Ahead

Art challenges us to feel, think and aspire. In business, it challenges us to reconcile profit with purpose. MBA students who wrestle with these tensions in the classroom are better prepared to lead media firms, creative enterprises or any organization that must navigate the delicate balance of human expression and market demand.

The lesson is simple but profound: We need art to make sure we are perpetually uncomfortable, so that we can find comfort in the progress that is gained from engaging with it.

Anthony Palomba is the author of the case, “Human Experience Articulated: Understanding Why We Need Art and Expression” (2025), published by Darden Business Publishing.