Description

This book examines how contemporary artworks can affect our psychology, producing immersive experiences. Gregory Minissale demonstrates how using robust methods for mapping conceptual processes, taken from psychology and cognitive science and adapted to the subtleties of contemporary art, can provide important insights into how we structure various kinds of abstract and concrete concepts into a network of thoughts, feelings and actions. Gregory Minissale demonstrates how using robust methods for mapping conceptual processes, taken from psychology and cognitive science and adapted to the subtleties of contemporary art, can provide important insights into how we structure various kinds of abstract and concrete concepts into a network of thoughts, feelings and actions. While recent studies in neuroscience and psychology have shed light on our sensory and perceptual experiences of art, they have yet to explain how contemporary art downplays perceptual responses and, instead, encourages conceptual thought. The Psychology of Contemporary Art brings together the most important developments in recent scientific research on visual perception and cognition and applies the results of empirical experiments to analyses of contemporary artworks not normally addressed by psychological studies. The author explains, in simple terms, how neuroaesthetics, embodiment, metaphor, conceptual blending, situated cognition and extended mind offer fresh perspectives on specific contemporary artworks - including those of Marina Abramović, Francis Alÿs, Martin Creed, Tracey Emin, Felix Gonzales-Torres, Marcus Harvey, Mona Hatoum, Thomas Hirschorn, Gabriel Orozco, Marc Quinn and Cindy Sherman. This book will appeal to psychologists, cognitive scientists, artists and art historians, as well as those interested in a deeper understanding of contemporary art. 1. Introduction; 2. Brain; 3. Body; 4. World. 'This book is well written and clear in its presentation. The author explores experimental aesthetics, neuroaesthetics, and cognitive psychology in depth, incisively pointing out problematic issues in each area related to processes underlying the creation and appreciation of contemporary art. A pleasure to read.' Gerald Cupchik, University of Toronto Scarborough 'A really ambitious work that provides an impressive review of much recent psychological, and especially neuropsychological, research as well as many perceptive suggestions on how it can be applied to contemporary art. Highly sophisticated in its handling of both psychology and art.' John Onians, University of East Anglia