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Noseless--An analysis

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by

Taylor Saunders

on 2 May 2017

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Transcript of Noseless--An analysis

The Physical
Formal Aspects
Subject Matter
Stuffed bunny
heavily used child's toy
"Transitional Object"
(Novina, 2005, 35)
The Work of Art/
Thematic Background
Figure 3. Maxine Yalovitz-Blankenship, Noseless, 2003. Acrylic, sand, and embroidery, 44 x 30 in. USA.
An Analysis --
Noseless by Maxine Yalovitz-Blankenship

Context
44 x 30 inches
mixed media
Acrylic, sand and embroidery on paper.
expressive brushwork
distressed surface
utilization of negative space
somber color palette
the gaze
simple
By Taylor Saunders
Bibliography
“Why now? What caused this outputting of sentimental imagery?" (Novina, 2005, 13)
Horrors of current events
Artist was heavily influnced by the traumatic events of September 11th, 2001 (maxineyalovitzblankenship.com, 2017)
Part of the artist's "Transitional Objects" series
The transitional object is a young child’s way of “coping with anxiety” (Berger, 2015, 205)

Adams, Laurie Schneider. The methodologies of art: an introduction. Boulder, CO: Westview, 2010
Berger, Kathleen Stassen. The developing person: through childhood and adolescence. New York: Worth Publishing, 2015.
Capasso, Nick, and Alexandra Novina. Pretty sweet: the sentimental image in contemporary art. Lincoln, MA: DeCordova, 2005.
Solomon, Robert C. "Chapter 14--In Defense of Sentimentality." In Emotion and the Arts, 225-45. New York, NY: Oxford University Press, 1997. eBook Collection (EBSCOhost), (Accessed March 21, 2017).
Yalovitz-Blankenship, Maxine. “Statement”. Accessed April 26, 2017. https://www.maxineyalovitzblankenship.com/stories/.

"the appeal to tender emotions"
(Solomon, 1997, 226)
"this emotional spectrum would include love, happiness, delight, comfort, innocence, vulnerability, serenity, security, sympathy, nostalgia, bittersweet melancholy, and pleasure” (Capasso, 2005, 5)
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