Blood In The Gutter Analysis

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Individual Experiences and Rhetorical Boundaries Drawing on the work of Dewy and Burke, Clark states that "experiential aesthetic is inherently rhetorical." As a scholar of rhetorical studies, he expands on this theory by using the National Jazz Museum in Harlem as a concrete example of this theory. While this theory is compelling and well supported, Release Your Plans—a painting by Daniel Sprick—provides an example of an aesthetic experience that is not rhetorical. Instead of rhetoric, Sprick offers his audience the opportunity for an individual experience. There is a line between what is rhetorical and what is not. By simply being, Sprick's Release Your Plan's shows that individual experiences are inherently different from rhetorical experiences because they lack a rhetor's intent of persuasion. Before we delve too deep into this argument, we need to look at the painting being discussed. Release Your Plans is on display at the Denver Art Museum. Roughly five feet tall and across, the painting hangs alone …show more content…
In "Blood in the Gutter," Scott McCloud, a cartoonist and theorist, writes about how an audience participates through seeking closure. Closure, according to McCloud, is "the phenomenon of observing the parts but perceiving the whole." The most straightforward example of this is the two picture frames that are partially shown on either side of the painting. The content of the frames are completely left out, but this doesn't stop a viewer from wondering what is inside the frame. The lonely bone in the corner is also demonstrates how audiences find closure. Almost automatically, the bone is linked with the skull. The bone and the skull become apart of the same body despite the fact they are disjointed in the painting. Though audience members won't find closure, they naturally seek it. People want to find order within chaos, and in the process of creating order, they participate in an
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