Media Communication Business Conceptual Art

Question: Describe about the Media Communication for Business Conceptual Art. Answer: The idea about creativity I have investigated is Eccentricity as a form of Art. The article by Deborah Stone is a rather interesting one on the issue of creativity. A major idea that has been presented in this particular article is how todays artists are going the extra mile to appreciate art that could be termed by normal individuals as weird (Maes, 2010; p.124). Stone has used the illustration of the popular music icon, Lady Gaga to determine that artists too can be judged, and not the art itself. Following a number of experiments using both fake and real artists, it was revealed that individuals are more likely to assess art positively when they were told something unusual about the artists appearance of behavior (Goldie Schellekens, 2007; p. 35). It was obvious that weirdness is used as a rule-of-thumb for those who are unsure about art to determine that the art is actually genuine and professional. Stone cites that creativity can be the eccentricity of a given artist, such as what is seen with Lady Gaga. This is how the article defines creativity. In one o f the experiments, Van Goghs Sunflowers were assessed more positively when audiences were told about him chopping off his left ear lobe (Davies, 2004; p. 51). Furthermore, Lady Gagas music was more welcomed when she was depicted as extremely strange. The idea of eccentricity as a form of art is best explained in a speech by artist Dustin Yellin titled, A Journey through the Mind of an Artist on ted.com (Corris 2004; p. 97). Yellin makes attention-grabbing artwork that tells complicated, myth-inspired narratives. In the speech, he describes his idiosyncratic way of perceiving things and thinking. A childhood attraction with boxes and what they contained led Yellin to construct his own boxes of wood-and-resin, then glass with 3-dimensioanl collages dangled within (Osborne, 2002; p.78). To ordinary individuals, this may seem as child play but other artists appreciate this as an innovative and eccentric art. One would also not expect an adult to still play with wooden boxes. This is a good illustration of amazing innovation and challenge. A dangerous idea can be defined as a form of conceptual art in the sense that it values ideas over the visual or official elements of art works (Maes, 2010; p.135). Conceptualists are considered to be extreme artists who are bold enough to go out of the norm. Conceptual artists have managed to redefine the idea of a work of art to the extent that their endeavors are widely welcomed as art by museum curators, gallerists, and collectors. This concept is also considered to be extreme. My exemplar is a dangerous idea because Yellin has made art not to look or appear like a conventional work of art, or even take any physical form at all (Goldie Schellekens, 2007; p. 40). A dangerous idea challenges normal art and pushes its limits by utilizing the least materials and texts. It also aims at leaving a lasting and memorable impression on an audiences mind about what they see. A dangerous idea is compared to conceptualism in the sense that it is said to exist, but only as an idea in the mind. Dangerous ideas are often kept secret up until the person having them reveals them or makes them come to life. Deborah Stone also identifies eccentricity behavior, which can also be compared to a dangerous idea as a deviation from norms. Such deviations can assist with the generation of creative ideas and dangerous ones thus making eccentricity subject to a form of confirmation bias in which individuals expect an unusual artist to be professional since that conforms to their stere otyped image of creative individuals (Davies, 2004; p. 54). The most fundamentally revisionary character of conceptual art is the manner by which it announces itself to be an art of the mind rather than of the senses. Creativity, eccentricity and dangerous ideas tend to reject conventional artistic media since it places the artwork at the level of idea compared to that of objects. However, it should be noted that the pressure of todays artists to be eccentric or unusual is actually a pressure to conform to a stereotype. Weirdness is stereotypically linked to unconventional and high value art (Corris 2004; p. 101). References Corris, M. (ed.). (2004). Conceptual art: Theory, myth, and practice. Cambridge: Cambridge University Press. Davies, D. (2004). Art as performance. Oxford: Blackwells. Goldie, P., Schellekens, E. (eds.) (2007). Philosophy and conceptual art. Oxford: Oxford University Press. Maes, H. (2010). Intention, interpretation, and contemporary visual art. British Journal of Aesthetics, 50. Pp. 121 138. Osborne, P. (eds.). (2002). Conceptual art: Themes and movements. London: Phaidon Press.