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The purpose of this paper is to provide novel insights into arts consumption behaviour and patterns of communication displayed by arts consumers using Peterson’s theoretical framework, and to identify differences in the use of communication channels across arts segments.

The authors conducted an a priori market segmentation study, with two variables serving as segmentation criteria, namely, the frequency of and the variety of arts events attended. The authors tested for differences in communication patterns.

Four segments were created: low-frequency univores, low-frequency multivores, high-frequency multivores and high-frequency omnivores. They differ in their communication patterns and online behaviours, including their online activities before and after attending arts events. Printed materials and e-mail newsletters were the most effective communication channel for raising awareness of all arts consumers.

Understanding these communication patterns can help arts marketers to increase the attendance of low-frequency segments and broaden the variety of arts events attended by the univore and multivore segments. The generalisability of the findings is limited as the survey was conducted among online Australian arts consumers only.

The paper adds the dimension of arts consumption frequency to the taxonomy of omnivores and univores proposed by Peterson, which is based on the variety of consumed arts only. The paper contributes to communication and arts marketing literature by identifying key differences in communication patterns across segments of arts consumers and the most promising communication channels to engage them.

This paper aims to build on research on the art infusion effect (Hagtvedt and Patrick, 2008a). It investigates the effect of using fine art in advertising and addresses additional factors that have not been assessed to understand and describe the process of art infusion more thoroughly. Thereby, the moderating role of the art interest of individuals and its interplay with the hedonic value of the product is studied. Effects on attitude and willingness to pay are revealed and the perceived value for money as a further mediating variable that drives the art infusion effect under some conditions is investigated. Moreover, the study examines the effect of the artwork’s familiarity.

The experimental study follows a 3 (ad picture: photo, unknown painting, well-known painting) × 2 (art interest: low, high) × 2 (product type: highly hedonic, moderately hedonic) between-subjects-design. In total, 447 consumers were surveyed in museums, art exhibitions and neutral public spaces.

For a clearly hedonic product, the art infusion effect is independent of consumers’ art interest. For an only moderately hedonic and more ambiguous product, this effect only occurs for highly art interested individuals. Moreover, different mediating processes are revealed for these two product types in a moderated mediation model. An effect of familiarity cannot be verified.

Research on effects of art on consumer responses to brands and products is still very limited. In addition to existing research, this paper adds to the identification of boundary conditions and the explanation of drivers of the art infusion effect. Moreover, this is the first study that provides insights on how an artwork affects consumers’ willingness to pay.

Art-infusion has become a common practice among brands across the globe. This is because marketers leverage the uniqueness and prestige of arts to earn superior profits. Hence, this research aims to understand and measure consumers' willingness to pay (WTP) for art-infused products.

A questionnaire was designed based on conjoint analysis and was responded to by 470 respondents from India. The estimation of preference functions in conjoint analysis was intended to use orthogonal arrays to measure WTP.

The study reveals consumers' utility and WTP for different art-infused products. The results indicated that consumers have the highest WTP for products that have artwork dominated by the visual elements of colour, shapes and space.

The paper presents valuable findings for marketers to develop their product design and earn superior profits.

This is the first study in the domain of the art infusion phenomenon that measures WTP for non-luxury art-infused products. Also, this is the first study to measure WTP for different kinds of art forms.

The purpose of this research is to understand the differences in information tasks as well as the pattern and use characteristics of information sources by postgraduate students in arts and engineering faculties in Nigeria's premier university, the University of Ibadan.

Data were collected from samples of 153 and 162 postgraduate students from engineering and arts/humanities respectively using a questionnaire. Data were collected on the tasks – popular, occupational and scholarly tasks – for which the students used identified sources.

Altogether popular tasks or everyday common activities dominate the information needs of the students, although more arts students required such information than engineering students. Arts and engineering students consulted interpersonal sources but arts students consulted the library in addition more than engineering students.

The research focused only on one institution, thus limiting the applications of the results to other institutions.

Discussion forums and similar opportunities for interpersonal interaction are useful for both faculties, but arts students should have forums in the learning environment to enable them to interact with their colleagues and experts.

There is no study in Nigeria focusing on the benefits of discriminating information services to students according to their disciplines.

In a service-led, knowledge-based economy, employers increasingly expect universities to deliver a workforce suited to this environment. This emphasis is evident in contemporary Australian higher education, which is shifting to an acquisition of vocational outcomes. However, vocational outcomes are not traditionally viewed as outcomes of liberal arts programs. Balancing new expectations with traditional perspectives generates a tension between assuring graduates employment outcomes and maintaining the integrity of the Bachelor of Arts (BA) as a liberal arts program. Getting it wrong can result in fragmented and unstable curricula. One of the many ways that Australian BA programs are grappling with this problem is through the provision of work-integrated learning (WIL) opportunities for liberal arts students. In professions-based programs such as engineering or dentistry, the shape and nature of these courses may be obvious. It is less so in the generalist BA. Australian BA programs offer students the opportunity to engage with WIL in a variety of ways. Evidence from national studies investigating the Australian BA between 2008 and 2016 highlight common features of practice – such as the objectives, activities, and structure, and indicate that two approaches to providing WIL opportunities in the BA are evident. In order to meet the goals and aspirations of both economic and social purposes of higher education, liberal arts programs tend to adopt either a transactional or a transformational model. Each model has particular characteristics and approaches to practice that can inform the development of new programs and policies more globally.

The purpose of this paper is to refine and measure esthetic development.

Three phrases of data collection were conducted utilizing four separate student samples (n = 120, 154, 241, and 343). In Phase I, an initial esthetic development stage model was tested with a constructed response test format using generalizability measurement theory. In Phase II, this conceptual model in esthetic development was refined with a modified constructed response format. In Phase III, a selective response test format was designed with five esthetic development stage scores, which were correlated with several artistic discipline-based and interdisciplinary courses.

Higher esthetic development stages correlate with verbal ability and grades in interdisciplinary general education arts courses. Lower esthetic development stages were associated with lower verbal ability and grades in traditionally taught discipline-based arts courses.

What this study did not do is examine whether attendance at arts events and activities support or lead to higher esthetic development.

People at Stages Four and Five of this esthetic development model are able to compare artistic experience – whether visual or performing art – within a historical and cultural context or perspective. Individuals at these highest stages are able to communicate about the social significance and societal themes of the artistic experience to wider audiences.

No accepted model or assessment method about the arts in higher education is available. Although the arts are commonly accepted as important in higher education, there is a paucity of research about esthetic development in the curriculum. This paper attempts to address this gap, in part, and to advance further study about quality of arts’ programs and activities in higher education.

Previous research suggests that women receive less critical attention and acclaim in popular music. The authors expect that gender differences in the amount and content of media discourse about popular musicians occur because music critics draw on the cultural frame of gender as a primary tool for critical evaluation. In order to explore the role of gender as a frame through which aesthetic content is evaluated, the authors conduct detailed content analyses of 53 critical reviews of two versions of the popular album 1989 – the original released by Taylor Swift in 2014 and a cover version released by Ryan Adams less than a year later. Despite Swift’s greater popularity and prominence, the authors find that reviews of her version of the album are more likely to focus on her gender and sexuality; less likely to describe her as emotionally authentic; and more likely to use popular aesthetic criteria in evaluating her music. By contrast, Ryan Adams was more likely to be seen by critics as emotionally authentic and to be described using high art aesthetic criteria and intellectualizing discourse. The authors address the implications of the findings for persistent gender gaps in many artistic fields.

The purpose of this paper is to highlight how one high school psychology teacher helped students explore the concept of identity exploration and express their own personal identity through the use of contemporary art in a high school psychology course.

In this paper, techniques one high school teacher used for utilizing the visual arts to teach identity exploration in a high school psychology course are shared, including student discussion surrounding the visual analysis of contemporary artwork, thoughtful student application of developmental theories and the student production of original artwork to express one’s identity.

Students participating in the lesson engaged enthusiastically in the discussion of the use of selfies in contemporary art and demonstrated thoughtful reflection in the creation of their own selfies.

Future research is needed to systematically investigate the effectiveness of incorporating contemporary art as a means of teaching identity exploration to adolescents as part of a high school psychology curriculum.

Adolescent exploration is a key feature of the adolescent experience and is part of the psychology curriculum at the high school level. Such courses afford students the unique opportunity to apply developmental theories and theories of identity exploration to recent occurrences in their lives. One possibility for teaching identity exploration is through the visual arts.

This lesson advances psychology instruction through the purposeful scaffolding of identity exploration as both content and process using contemporary art.

The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling galleries seek to break free from the image of Chinese art towns as skilled but imitative centres of art production.

In-depth interviews were conducted among seven gallery owners in Wushipu art village over three weeks to discover how art production in China has evolved and to chart its future growth.

In the Chinese setting with its distinctive cultural patterns, tensions between the emergent national pride in original art and the facile and commercial moneymaking potential of simply selling industrially produced art are revealed.

The changing dynamics of arts markets in China provide marketers and researchers a glimpse into a parallel trend: the gradual but rising shift to innovation, originality and luxury occurring in the China-based manufacturing centres of material goods.

The attempts to break from the imitative mass production of art and strike a balance between creating and meeting the art needs of the Chinese consumer indicate how domestic market priorities and economic growth are likely to serve as the new fuel for contemporary China’s socioeconomic development.

Via an interpretive look at contemporary Chinese modes of arts production and marketing, the paper revisits the antagonism between the creation of original art and the production of industrial art in a context not well-known in the west, the massive art production centres of China.