Abstract
This paper discusses John Dewey's critical reflection of contemporary state of art. This situation can be described in three questions: Why is it necessary to conceive of the production and the perception of works of art in terms of a dynamic process instead of the objectified result? How do these processes relate to the broader context of social and natural events? How does this kind of aesthetic theory relate to traditional assumptions of modern aesthetics? The author argues that Dewey does not neglect the idea of disinterestedness, but deliberately uses it to retain two apparently contrasting features which can be found in his theory: the continuity between life and art and the distinctive quality of being completed, which makes a work of art stand apart from the events of everyday life.