Every time I come across such a statement the first thought that comes to mind is, BULLSHIT. Here's my rebuttal - ironically through a KI essay (which is sometimes quite full of bullshit too).
Unlike in Science where inquiry reaps tangible results that is instrumental to technological progress and the empowerment of human beings in controlling nature, it is not clear at first glance what real value the aesthetics offer society. A world without art or aesthetics is perhaps imaginable for some who claim that human beings will survive all the same without it. The same people would agree with Oscar Wilde when he says that "Art is really quite useless" – but is it really? The concept of value is exceptionally vague when it comes to the aesthetics not least because of the subjectivity that is involved in aesthetic judgement and thus its value. This essay will suggest a pluralistic view on value as applied to aesthetic knowledge while making a distinction between artistic and instrumental value and maintaining that only the latter is crucial in ascertaining 'value' with respect to society. In examining its instrumental value, this essay uncovers art's value in providing important perspectives to society through illustrative and interpretative demonstration and come to appreciate the fact that art, while not strictly indispensible, is certainly valuable.
The first question that demands discussion is this: what do we mean by 'value' when it comes to the aesthetics, and can it be determined? Taking the non-essentialist point of view, a work of art can have many different kinds of value - a cognitive value, a social value, an educational value, a historical value, a sentimental value, a religious value, an economical value, a therapeutic value; it can possess as many kinds of value as there are points of view form which it can be evaluated. There might not be one unitary value that renders art intrinsically valuable, and no single value that is definitive of the artistic evaluative perspective. For instance, Bach's Prelude & Fugues can be artistically valuable in its intricacy and elegance of formal construction, but at the same time embodying a sentimental or therapeutic value that is personal to the listener, and even a religious value since it is well-known that Bach's music was (presumably) 'inspired by God'. It is hence reasonable to take a pluralistic view on the concept of value in aesthetic knowledge.
From the litany of possible sources of 'value' outlined above one can distinguish artistic value (which includes cognitive and sentimental value) from instrumental value (including educational, historical, economical, social value) In the latter case art is somewhat a medium, a means to an end rather than 'art for art's sake'. That an artwork has excellent formal qualities and balanced colour tones may make it artistically valuable, but it is hard to see its relevance to improving society per se, so it may not necessarily be of value to society. However, art may possess instrumental value if it carries a message that may inspire improvements in society - for instance, John Lennon's Imagine is famous for its message of peace and love - then its value to society is certainly clearer. The determination of its value is however not a quantitative one simply because it is impossible to 'price' art objectively (disregarding auctions of artwork, which in no way project the objective value of art). But it is nonetheless possible to demonstrate that art and aesthetics have instrumental value to societies.
Foremost, art holds significant epistemic value because it provides insight into complex, diverse subjects - most notably the human condition - where general laws of science are elusive and non-existent. Society pursues not mere propositional or scientific knowledge; as human beings we all seek to learn more about ourselves, our emotions, our relations to each other and our place in the world. But these cannot be fully understood by subsumption under general laws; we rely on perspectives, rather than theories in understanding these phenomena. For instance, reading Pride & Prejudice tells me that first impressions are a poor guide to a person's character - something that science cannot teach me through theories. Neither can the mere statement that 'first impressions are a poor guide' sufficiently convince me of its truth. In the vein of the exemplification theory, the novel in this case exemplifies a perspective and thus becomes a source of non-propositional knowledge, shedding light on a particular corner of reality and hence allowing us to achieve a better understanding of our behaviour, attitudes, and society in general.
Historically, art has also held a special place in society as a catalyst for social and political changes, a reflection of culture and the spirit of the time ('zeitgeist'). We can observe how people live in the past through observing paintings or art produced from the past, just as how anthropological studies find evidence from art and craft of the past. But art goes beyond being a passive reflection of the past - it participates in the shaping of society, and might even possess immense power as a catalytic element in political revolutions. The wave of 20th century art movements like Dadaism, Surrealism and abstract expressionism - among others - ushered in post-modernism (at least in the cultural sense or in representing its spirit). Many of those artwork are symbolic of the rebellion against order, stifling regimentation and hypocritical 'high-culture and finesse', preferring instead chaos and fragmentation totemic of post-modernism. Particular artworks also hold special value - Theodore Gericault's Raft of the Medusa, for example, was a powerful social commentary unprecedented at the time, drawing attention to unpleasant truths of how the human instinct to survive superseded all moral considerations, plunging civilized man into barbarism. Similar subversive and deconstructivist art seek to question aspects of society and provoke reflection on present-day politics and values. While art does not necessarily reveal an explicit truth, it highlights a perspective that have implicit power in generating reflection and catalyzing social & political changes. Even if art represents the opposite of truth (or half-truth) - as in the case of propaganda - it is itself a use (and thus in some sense of value), and on hindsight telling of the political climate of particular points in history.
One might well argue that all that art represents can be equally well-expressed in other non-aesthetic forms. The portrayal of violence in Picasso's Guernica might be expressed in passionate prose - why not? To some extent art is not an indispensable medium, but such undermining of art's value fails to see that art - although like speech a medium - is not entirely the same. While Guernica translated into an essay might tell us about the violence of aerial bombing and of war in general quite convincingly, it cannot demonstrate in the same way that the painting does. Neither might it be able to capture the imagination and minds of people as viscerally as a picture, or a song. What is suggested here is not that art is a superior medium of expression; the point is that art provides a different perspective, a different means (interpretative demonstration) for us to access knowledge of reality - and should thus be valued in its own right. To reject art's potential value to society is to reject countless perspectives and mirrors by which we can perceive reality and come to understand ourselves.
On another note, the undermining of art's value might stem from an unfair comparison of art and science as sources of knowledge. As mentioned in the beginning, science achievements in technological progress seem to dwarf that of art, which might have led some people to thinking that art has no real value in society. Such comparisons are ultimately meaningless because there is no common ground for the comparison of 'real value'. Science measures that in terms of technological advancement, art in terms of rather indeterminate slew of yardsticks. The turbidity of what constitutes ‘value’ in the latter is a problem, but does not justify a denial of art having any value for society at all. On the contrary, one ought to appreciate the plurality of what constitutes value in art.
The enormity and plurality of art's instrumental value cannot be more emphasized. While particular art works - such as Andres Serrano's "Piss Christ" (a photograph of a small plastic crucifix submerged in the artist's urine produced with a grant of $15000) - are controversial in terms of what value it offers society (especially when taxpayer's money are in question), one should not categorically conclude that all art is really quite useless. This essay has proven that art serves specific functions, whether intended or not – and its instrumental value in inexhaustible aspects of society cannot be callously disregarded. The truth is that art has become so entrenched in society's culture that it is arguably an intrinsic part of what makes up society and culture. What constitutes 'value' in knowledge is sometimes quite arbitrary because of its pluralism, but this should not translate to an understatement of art's value. Rather, the fact that it is valuable in so many respects should be adequate evidence of its wide-ranging uses and brevity of concerns. Ultimately, while art may not be indispensible, it is certainly irreplaceable. To say that art has no real value in society is to throw away an irreplaceable mirror and perspective. Society does that at its own peril.