LOS ANGELES — If you’re reading this, you probably know the feeling. You’ve just fell in love with a work of art. A real work of art. It might be a painting, a sculpture. You stare and stare and you feel your heart pound and maybe even your eyes well up. And then a friend next to you says … “Huh?”
The way art touches us remains a mystery, but some studies are pointing to what might be going on underneath our noggins. Folks at NYU gathered a variety of art works, from different cultural and historical traditions and with mixed subject matter. And they took out the most recognizable works.
Volunteers — who were selected for varying level of experience in art and art history — answered the question “How strongly does this painting move you?” while under an fMRI. What’s not surprising is that subjects varied widely in terms of which paintings moved them and how much they were moved. But what didn’t vary was the part of their brain that lit up.
Here’s what Futurity.org had to say:
However, for paintings receiving a “4” — indicating a piece truly moved a subject — fMRI results showed the engagement of an additional neurological process. While subjects varied in which paintings received “4s,” the brains of all subjects showed a significant increase in activity in a specific network of frontal and subcortical regions in response to artworks they reported as highly moving.
This activity included several regions belonging to the brain’s “default mode network” (DMN), which had previously been associated with self-referential mentation.
What on earth is self-referential mentation? As the article explains, the part of your brain that lights up to art is also the part of the brain thinking about “personally relevant matters,” like when we daydream or think about the future. In other words, art really does touch a part of ourselves.
Image: From Discovery Education’s Clip Art Gallery and created by illustrator Mark A. Hicks.
I won’t bother you with talk about how obscenely decadent and out of touch the Frieze art fair is. And yet…
Curators Tahnee Ahtone, La Tanya S. Autry, Frederica Simmons, Dan Cameron, and Jeremy Dennis offered the public a window into their curatorial processes through the work they produced during their fellowships.
Who says tragedy has to be tragic? Co-presented with National Black Theatre, this fresh, Pulitzer-winning take on a classic centers Black joy and liberation.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Jeremy Dennis presents an exhibition to offer insight into his curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Dan Cameron presents an email exhibition to offer insight into his curatorial process.
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Frederica Simmons presents an email exhibition to offer insight into their curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, La Tanya S. Autry presents an exhibition to offer insight into her curatorial process.
This exhibition explores the work and short-but-impactful life of the groundbreaking ceramic artist. Now on view at the New Orleans Museum of Art.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Tahnee Ahtone presents an email exhibition to offer insight into her curatorial process.
This week: Why does the internet hate Amber Heard? Will Congress recognize the Palestinian Nakba? And other urgent questions.
Artist Dan Jian makes the point that landscapes and memory are one and the same.