I find this review of Matthew Kieran (ed.), Debates in Aesthetics and the Philosophy of Art by Jenefer Robinson is interesting because it spells out the core of an empiricist aesthetics.

I guess an empiricist aesthetics is contrasted to the standard interpretation of the Kantian notion that aesthetic appreciation is based on to the intrinsic properties of a work. The former is the view that the "the artistic value of a work resides in qualities of the experience it elicits in an appropriately primed receiver" so that our assessments of artistic value is the reducible to the experienced effects of art works. I guess that it has its roots in the“copy theory of knowledge,” which bases most if not all our ideas on prior sensations or impressions of the given.

The central difficulty is that empiricism is better suited to the analysis of sensation of the art work than to the analysis of artworks as such; or to the 'institutional' (the societal and historical) as it bears on the world of art works; or to the role of interpretation.

Deleuze represents a rupture from classical empiricism in that he does not treat the given as epistemically primitive, but instead seeks to determine how it is produced. Thus, the empiricist dimension is to be situated in terms of how the given is produced and what conditions allow for the production of the given. It is for this reason that Deleuze's philosophy remains transcendental. As Levi Bryant says in The Transcendental Empiricism of Gilles Deleuze

Insofar as transcendental empiricism holds itself to real experience, it is an empiricism. Real experience cannot be anticipated in advance a priori, but must instead be found through the exercise of intuition. On the other hand, insofar as transcendental empiricism articulates the conditions of real experience it is a transcendental philosophy because it holds that the conditions of experience are not themselves given in sensible experience. Far from being given in the sensible manifold of experience, the conditions of experience must be arrived at through the exercise of intuition which divides the composites of diversity into the differences in intensity which allow it to display itself in diversity.