Aesthetic Value as a Function of Emotional Context,...

Jean Michel Basquiat’s â€Å"Riddle Me This, Batman†, produced in 1987 is a Neo-Expressionist figurative painting (see fig. A.1). It was first shown in Paris’s Galerie Yvon Lambert. Two months after its debut, the piece exchanged hands several times, emerging briefly from private collections only to be snapped up at auction. Most recently, it was sold at a Sotheby’s auction for over six-million USD. Mark sagoff 119 Million dollar pieces were common in the 1980’s. During this time, the price of neo-expressionist works increased steadily. In the market place of public bidding-wars and private sales it seemed that art no longer had intrinsic value. The ever-increasing prices of these works drove many artists to manufacture pieces in turn making†¦show more content†¦[†¦] ‘Significant Form’ is the one quality common to all works of visual art. ‘Significant form’ is substituted for beauty for two reasons. First, beauty reduces to a universal, excluding its use as a standard. If beauty can be an objective standard, then it also must be particular, in that it can be known. If beauty is understood as an underlying principle, or essence of art that evokes aesthetic emotion—where essence is defined by â€Å"what it is said to be in respect of itself† —then absent of the predications that describe beauty, such as the accuracy of representation, technical skill, or impressive form, all that remains is beauty evidently. Secondly, people are apt to use beauty to predicate a subject absent of the aesthetic emotion that its presence evokes. Therefore, â€Å"any system of aesthetics which pretends to be based on some objective truth is palpably ridiculous †¦Ã¢â‚¬ . Using the framework formerly established, in conjunction with analysis from Clive Bell, John Hospers, Kakuzo Okakura and A.W. Ea ton, Basquiat’s â€Å"Riddle Me This, Batman† will be dissected in order to reveal meaning, interpret, and provide evidence that this is indeed Basquiat’s masterwork (relate to other pieces) However, before any analysis can begin it is important to understand the author and his ability. The works of Immanuel Kant, G.W.F.Show MoreRelated Virginia Woolfs Jacobs Room - Jacob Flanders, Many Things to Many Readers4383 Words   |  18 Pagesinterested in exploring the nature, communication, and limits of fictional knowledge. Woolfs idiosyncratic mode of characterization in Jacobs Room is the epistemological complement in fiction to Eliots formula for emotional expression in poetry, the objective correlative. While Eliots description of the ideal artistic technique tries to be concise and formulaic, a direct mimetic correspondence, Woolfs technique is symbolic and metaphoric, collective, indefinite, and infinitely more subtle. To describeRead MoreMetz Film Language a Semiotics of the Cinema PDF100902 Words   |  316 Pagespassages in it have been published. In attempting to improve the phrasing of the original articles, in adding notes wherever necessary to account for more recent developments, and, finally, in striving, in Chapter 5, to give a general and current description of the main problems at issue, my goal has been, in the still new and developing field of film semiotics, to present the reader with a work as coherent and up-to-date as its nature permits. I wish to express my thanks to the five publications inRead MoreWho Goes with Fergus11452 Words   |  46 PagesJames Joyces favorite poem, and figures in his famous novel Ulysses, where Stephen Daedalus sings it to his dying mother. On one level, the poem represents Yeats exhortation to the young men and women of his day to give over their political and emotional struggles in exchange for a struggle with the lasting mysteries of nature. He suggests that Fergus was both brave and wise to give up his political ambition in exchange for the wisdom of the Druids, as depicted in the poem Fergus and the Druid.