Aesthetic Perspectives - Essay Example

?Harris Kamran Visual Arts Exploratory Paper 5 April Aesthetic Perspectives This paper purports to discuss the aesthetic perspectives in art by comparing and contrasting two pairs of artwork. The first pair to be analyzed is the “Mystic Package” by Claudio Bravo and “Rabbit” by Jeff Koons. “Mystic Package” is a painting on paper by Claudio Bravo made in 1967 (Horsley, 2003). It is an artwork using the media chalk, conte crayon and ink on paper, and is an example of a Realist painting (Horsley, 2003). In fact, Bravo was touted as the greatest Latin American realist (Horsley, 2003). The painting depicts a paper package of considerable size wound around by wire, seemingly in order to keep it secure and the contents of the package from being exposed. In terms of the FORMALIST (Art and Aesthetics, n.d.) theory of aesthetic perspectives, the painting can be analyzed in the context of space, form, texture, color, and lines. The painting of the package occupies most of the space of the canvas, so that all the observer sees is a paper package wrapped in wire. The form of the painting is very true to life, and immaculately arranged. The corners are crumpled just a little to give the painting a feeling of realism. It is very easy to infer the texture of the package; it is made of paper. The colors of the paintings are bland, and very real; the package is pastely cream in color, with the wire silver. As far as the formalist perspective is concerned, the artist has succeeded to portray arrangement and realism in the painting. This leads us to the other perspective, that of IMITATIONIST (Art and Aesthetics, n.d.) theory. As discussed earlier, this is a work on realism, a branch of Imitationism (Art and Aesthetics, n.d.). There is nothing more to the painting than a package wrapped in wire. To an imitationist, the painting is beautiful because it reflects very accurately on the real object from which it took its inspiration. It is very life-like. Therefore, the artist has succeeded in terms of making the painting real. Even the crinkles and the shadows have been drawn to exactly match the real object. The painting also has a high worth in terms of the EXPRESSIONIST (Art and Aesthetics, n.d.) theory. This theory explains the feelings and emotions that the painting elicits. When an observer looks at the painting, he gets the feeling of enclosure and secrecy. Since the package occupies most of the space of the canvas, the observer cannot look at the surroundings of the package, and feels as if he is also wrapped around in it and closed tight. The wire around the package seems to protect the package from opening and the contents from being exposed. This gives a sense of secrecy to the painting. Nevertheless, the package is made of paper, and so it is fragile, and can tear open any time. This invokes a sense of suspense to the exposure of the hidden contents of the package, and the observer feels a thrill, as if by waiting and looking at the painting for a longer period of time, he might be able to break open the package and look inside. The real inspiration for the painting, as explained by the artist, was quite mundane: his sister arrived with some packages, and Bravo was fascinated by their form and texture (Horsley, 2003). His depiction of the painting, however, infuses more meaning to the package than just the artist’s fascination. The other artwork of the pair is “Rabbit” by Jeff Koons. Made in 1955, it is a sculpture crafted out of stainless steel (Holland, 2010). It is huge in size; to get an estimate, it comes to the waist of an average adult male, and since it is put up on a pedestal, it faces the observer with an eye contact (Holland, 2010). This artwork, too, can be studied in the three perspectives as discussed for the previous artwork. The discussion is as follows: In the perspective of the FORMALIST (Art and Aesthetics, n.d.) theory of aesthetics, the first point to be noted is the medium of the sculpture, that is, stainless steel. It should be noted that it is very difficult to carve and craft in this medium, and the artist has managed to oversee the crafting of a larger-than-life sized rabbit in three dimensions, which is a success in itself (Holland, 2010). The surfaces of the sculpture are extremely shiny, and one can see the surrounding structures and one’s own face in the artwork very clearly (Holland, 2010). The technique used is quite simple: the sculpture is a replica of a blow-up plastic toy (Holland, 2010), which formed the mould of the steel. Therefore, the seams and the dimples in the model are clearly visible in the artwork (Holland, 2010). However, the curves and ends are immaculately carved, and the huge size of the artwork gives the impression of something impressive in front of the observer, while in reality it is just a replica of a toy rabbit. The differences between the form of this artwork and the previous artwork are, hence, quite evident. The artwork gets quite interesting when viewed in the IMITATIONIST (Art and Aesthetics, n.d.) perspective. It is, undoubtedly, an example of a realist artwork, in that it imitates the form of a rabbit, is in three dimensions, and is a sculpture. However, when compared with the former artwork, “Mystic Package”, it is clear that the former is a better example of imitationist artwork than the latter, even though the former is a two-dimensional painting of chalk and ink on paper! This is because the artistic Bravo has held true to the actual shape and form of the package, and has taken the pains to make it as life-like as he could. On the other hand, Koons has made a replica of a toy blow-up rabbit (Holland, 2010). If the sculpture is considered to be a replica of the toy, then it is a complete realist artwork in relation to that toy. However, if the actual rabbit form is the model, then the sculpture is a distorted and cartoonish realist impression of the model, and although on the lines of imitationism, it is not completely so. Now let us analyze the meaning of the artwork in terms of the EXPRESSIONIST (Art and Aesthetics, n.d.) theory. The artwork is, simply, a giant rabbit. And in this regard one wonders what the features are that merit it as an artwork in the first place. This is a concept of the INSTITUTIONALIST (Art and Aesthetics, n.d.) theory. The toy model is an article of everyday use for children with no artistic touch to it. However, when the artist has made a replica of it in stainless steel, it has suddenly become a work of art. No doubt, there would be some cynics who would say it is not a work of art in the true sense, since all the artist did was to think of this concept; the actual sculpting and carving was done in a finery by skilled workers (Holland, 2010). However, from an expressionist viewpoint, it is does merit to be an artwork. The rabbit sculpture is an effort to denounce the concept of art as being something of importance; art can also be used to depict common articles from everyday life (Holland, 2010). And the reflections one gets in the artwork might mean that art is nothing but a reflection of the surrounding environment (Holland, 2010). Also, the toy model would perish and become disfigured, whereas the artwork, in the true meaning of art, would endure, since it is made of stainless steel (Holland, 2010). The rabbit does not show any genitalia either (Holland, 2010), forcing one to wonder if that is supposed to reflect on the innocence of children whose toy was used as a model for the artwork. The next pair to be analyzed is that of two photographs, one called “Cabbage” by Edward Weston, and the other called “Five Cents Lodging, Bayard Street” by Jacob Riis. The photograph of a cabbage leaf, called “Cabbage”, was taken by Edward Weston in 1931, the medium being Gelatin Silver (Elise, 2007). It will be analyzed in three perspectives, as follows: The first perspective through which it could be analyzed is that of INSTITUTIONALIST (Art and Aesthetics, n.d.) theory. The simple question herein is what has made a photograph of this piece of cabbage leaf an artwork (Art and Aesthetics, n.d.)? Is it simply because it is a photograph, with good light and angle? Or is there more to the photograph than what meats the eye? It is definitely an example of IMITATIONISTIC (Art and Aesthetics, n.d.) theory; in fact, it could qualify as the best example since it is a photograph, and hence, has captured nature and the reality just as it was. However, to qualify as art, it should posses some features that are determined by the artworld (Art and Aesthetics, n.d.). This concept is that of the institutionalist theory. And it is explained when we consider the photograph for its formalist and expressionist elements. The photograph is very aesthetically taken from a FORMALIST (Art and Aesthetics, n.d.) point of view, and there is a good balance between the light and the shades, so that every ridge of the cabbage leaf is prominent. The photographer has intended it to be so; therefore, every feature of a mundane cabbage leaf is visible and has been captured for ever. The cabbage leaf occupies most of the space; therefore, one is forced to look at the pertinent form only. However, a little background that shows indicates a rough and soiled ground, which is a good complement for the mundane object under discussion. The angle of the photograph is such that the object is enhanced in its view, so that the observer sees the cabbage leaf as something more than just a cabbage leaf, thanks to the detailing and the fine features of the leaf which have come to the surface, such as the veins and the folds (Elise, 2007). This in accordance with the philosophy of the photographer; Weston believed in depicting nature just as it was in its full glory, with no camera tricks and no enhancements (Elise, 2007). The EXPRESSIONIST (Art and Aesthetics, n.d.) theory tends to discover the meaning behind an artwork, even if it s simple photograph of a cabbage leaf. The photograph has captured what might have been a fleeting image forever, saving it for the artworld (Art and Aesthetics, n.d.). This is in accordance with the concept of art, that it is meant to endure, while the models or forms that were taken as inspiration for realistic art would perish (Holland, 2010), just like this cabbage leaf. Also, art does not need to be something bigger and larger than everyday life articles and issues; it can just as aptly be used to depict mundane matters as profound matters (Holland, 2010). In fact, according to Wolfgang, a good piece of art needs to be along a tangent for the masses; that is, every one should be able to connect to that artwork and understand it (Art and Aesthetics, n.d.). This photograph of a cabbage leaf is a very good example of this definition of art. The mudded and soiled ground in the background enhances the baseness of the object, and contributes to the fickle nature of life in general and a cabbage leaf in particular; it is there now, but very soon it will disappear. It is art, therefore, that has captured that moment of life and preserved it forever. The last artwork to be discussed and the second of this pair is the photograph by Jacob Riis, called “Five Cents Lodging, Bayard Street”, taken in 1890 (History of Photography, n.d.). He was the first photographer to use flash (History of Photography, n.d.), and since this photograph is of an indoor setting, he has used the technique of flash for this photograph. According to the FORMALIST (Art and Aesthetics, n.d.) theory, this photograph can be studied in terms of the light and the angle for the photograph, and the forms that constitute it, including the arrangement of the different constituents of the photograph. Since it is of an indoor setting, the photographer has made use of the technique of flash and indoor lighting. The lighting is such that it reveals all the features of this setting, and the angle augments the rundown condition of the lodgings. The constituents of the photograph are the people sitting and lying down in the room, and their paraphernalia scattered about the room, very much complementing the theme of the photograph that was the intention of the photographer. This is similar to the formalist techniques used in the previous work discussed. The EXPRESSIONIST (Art and Aesthetics, n.d.) theory would look for the meaning of the photograph. The artist has tried to capture the true sense of poor lodgings as was experienced by the lower class of his time (History of Photography, n.d.). This is realist photography at its best, revealing the hidden truths behind the poor social conditions of the less fortunate. The scattered goods of the occupants, and the harassed and defeated look on their faces all help to create an aura of extreme poverty and a hard life. This photograph was in fact a part of the work of Riis titled “How the Other Half Lives”, a series of written essays and picture essays to highlight the plight of the lower class (History of Photography, n.d.). The feeling of abject baseness that this photograph elicits in similar to the one evoked by the “Cabbage”; both document, photographically, the lowest stratum and mundane concepts of the social life. This photograph is another very good example of IMITATIONIST (Art and Aesthetics, n.d.) perspective, just like the “Cabbage”, since both have captured the exact image of a real setting or objects, without any modifications or subterfuge. Another perspective that this photograph especially evokes is that of the PSYCHOANALYTIC (Art and Aesthetics, n.d.) perspective. This photograph speaks to the conscience inside the observer, and touches him on a basic moral and psychological level. It elicits empathy and sympathy, and an urge to do something about the abject condition of the subjects. This element was missing in the previous artwork of this pair. References (n.d.). History of Photography. Retrieved from http://www.all art.org/20ct_photo/Riis1.htm Art and Aesthetics. (n.d.). UWM. Provided. Barrett, T. (n.d.). Criticizing Art. Retrieved from https://pantherfile.uwm.edu/rgdeal/www/course/art100/LearningObject3/index.html Barrett, Terry. (2000). Criticizing art, understanding the contemporary. Mountain View, NY : Mayfield Pub. Co. Holland, N. N. (2010). This is your brain on culture. Retrieved from http://www.psychologytoday.com/blog/is-your-brain-culture/201006/jeff-koons-rabbit-the-brain-and-postmodern-art Horsley, C. B. (2003). Latin American Art. Retrieved from http://www.thecityreview.com/s03slat.html Elise. (2007). Edward Weston. Retrieved from http://www.flickr.com/photos/eam1230/1794608674/ Inglis, D. (2009). Art and aesthetics. Michigan: Taylor and Francis. Stecker, R. (2010). Aesthetics and the philosophy of art: An introduction. U.S.: Rowman and Littlefield. Stewart, Marilyn D. (1997). Thinking through aesthetics. Worcester, Massachusetts: Davis Publications, INC. Read More