Everyday Encounters with Art: Comparing Expert and Novice Experiences

Foreman-Wernet, Lois; Dervin, Brenda

doi:10.1111/cura.12181

Cited by 7 publications

(8 citation statements)

References 32 publications

(40 reference statements)

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“…Second, this study extends the conceptualization of the appropriation process by illustrating consumers' interpretive responses to Miró's experience in terms of the appropriation cycles and accumulated cultural capital that are apparently absent in the extant literature (Carù and Cova, 2005;Ellway and Dean, 2016;Foreman Wernet and Dervin, 2016). It addresses research calls to move beyond the differences in novice and expert art consumers' cognitive processing of artistic stimuli and preferences in artistic styles, to investigate how consumers become involved in interpretive activities.…”

Section: Discussionmentioning

confidence: 87%

The appropriation cycle: novice and expert consumers

Stavraki

Plakoyiannaki

Clarke

2018

EJM

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Purpose -Recognising the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research generates a localized account for novice and expert consumers of the varying role of cultural capital in the appropriation cycles and interpretative responses of an aesthetic experience. Design/methodology/approach -This research employs a single case study design of Miró's blockbuster exhibition and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records. Findings -An evidence-based framework of the appropriation process for novice and expert consumers of aesthetic experiences is offered. This framework highlights the significance of appropriation pace and of personal versus communal interpretations -amongst other featuresin distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital. Research limitations/implications -The transferability of the findings to other aesthetic or experience-based consumption contexts such as performing arts or sports is discussed, alongside the relevance of the proposed framework for researchers of aesthetic experiences. Practical implications -The empirical investigation of the understudied connection between visitors' cultural capital and their museum experiences provides insights into curatorial and marketing practices in terms of broadening, diversifying and engaging museum audiences. Originality/value -The research provides new theoretical insights into the literature of appropriation process and consumption of art experiences by bringing together consumers' cultural capital with the appropriation process and interpretive responses to an aesthetic experience.

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Section: Discussionmentioning

confidence: 87%

The appropriation cycle: novice and expert consumers

Stavraki

Plakoyiannaki

Clarke

2018

EJM

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“…Greater art knowledge—both self-assessed and objectively assessed—related to a greater liking of grotesque art, but not to the liking of non-grotesque art. As past work suggests that those with expertise in the arts have a more analytical take on evaluating artworks and are able to look past the immediate feelings elicited by the art (Foreman-Wernet & Dervin, 2016; Lindell & Mueller, 2011; Marković, 2012; Winston & Cupchik, 1992), expertise in the arts likely allows one to enjoy grotesque art through appreciating its complexity, imaginativeness, and visional qualities. In contrast to our hypotheses, art knowledge did not relate to liking of non-grotesque art.…”

Section: Discussionmentioning

confidence: 99%

“…Whereas the layperson may find grotesque imagery merely unpleasant and repulsive, those with greater expertise in the arts may better understand the meaning of the artwork and the artist's intention behind it (Lindell & Mueller, 2011). Past work has linked art knowledge to greater interaction with and interpretation of the meaning of an artwork (Foreman-Wernet & Dervin, 2016; Lindell & Mueller, 2011). Hence, a better understanding of complex art may generate greater interest and liking of the artwork (Silvia, 2006).…”

Section: Openness To Experiencementioning

confidence: 99%

Who likes the grotesque? Mapping individual differences in liking of grotesque artworks.

Karinen¹,

Çınar²,

Tybur³

et al. 2023

Psychology of Aesthetics, Creativity, and the Arts

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Why do some people find allure in artworks that focus on elements of repulsion, horror, and the bizarre? Across two studies, we examined how openness to experience, sensation seeking, need for affect, emotionality, disgust sensitivity, political orientation, art knowledge, and participant gender relate to the liking of grotesque art. In Study 1, participants (N = 203) rated their liking and interest in 40 works of grotesque art. As ratings of liking and interest were highly correlated (r = .88), we averaged them into one variable indicating liking. In Study 2, participants (N = 396) rated their liking of 20 works of grotesque art and 20 works of non-grotesque art (chosen based on a pilot study, N = 201). Results revealed that openness to experience, sensation seeking, art knowledge, left-leaning political orientation, and male gender were positively associated with the liking of grotesque art, whereas emotionality and disgust sensitivity were negatively associated with the liking of grotesque art. Of these variables, only openness to experience (positively) related to the liking of non-grotesque art. These results give insight into the personality characteristics that might underlie people's motivation to embrace or reject grotesque art.

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“…A visitor's experience is not a simple stimulus-response action, because personal history (which includes level of familiarity, expertise, desire to explore, and expectations) plays a role (Snodgrass, Russell, & Ward, 1988;Specker et al, 2018). Indeed people's interpretations are anchored by personal experiences (Foreman-Wernet & Dervin, 2016). Tinio and Gartus (2018) concur: people's backgrounds, knowledge, expertise and familiarity influence their emotional experience of artworks.…”

Section: Navigating Gallery Experiencesmentioning

confidence: 99%

“…Nostalgia, for example, can play a prominent role in reactions to exhibitions (Höge, 2003), and reflecting on oneself can be related to visitors reporting they had empathic and affective reactions to exhibitions (Garrido & Davidson, 2019; Luebke, 2018). Smith’s (2014) museum effect model encapsulates this notion of self-reflection, stating that “people use art as a springboard to engage in reflection and contemplation of things that are important to them in their lives.” Indeed, as reiterated by sense-making theory, people interpret their experiences with artworks within the context of their own everyday life (Dervin, 1998; Foreman-Wernet & Dervin, 2016). Morphy (2010, p. 279) declared that a function of the museum is as “the fulcrum between the present and past” and that the last people to interact with an object are the modern-day exhibition visitors, which are apt comments for the present study given the interest in visitors’ modern-day responses to historical portrayals of emotion and, in this specific case, love.…”

Section: Defining Exhibition Experiencementioning

confidence: 99%

An exploratory study of historical representations of love in an art gallery exhibition.

Krause¹,

Davidson²

2022

Psychology of Aesthetics, Creativity, and the Arts

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Visitor responses to art exhibitions vary depending on visitor traits, the exhibition context, as well as on the sensory engagement between visitor and exhibition. The present investigation explored visitors' experiences of Love: Art of Emotions, a curated exhibition shown at the National Gallery of Victoria in 2017, which comprised a variety of artworks from the Early Modern period selected to address the broad theme of love. This paper reports on a mixedmethods research project using a short survey and brief exit interviews with visitors to consider how the visitor experience was characterised, the factors that influenced this experience, and how the exhibition content was perceived with particular focus on the emotional content portrayed in the exhibition's collection of artworks. Results of quantitative analyses indicate that familiarity with artworks and their historical period combine with motivations for attending the exhibition (such as being motivated by the exhibition's theme) and have a clear positive influence on one's emotional experience of the exhibition overall.The results of thematic analyses pertaining to the interview responses provide evidence that visitors processed both the emotional and historical content in the exhibition-indicative of having contemplative experiences, and often processing the exhibition content in relation to themselves. These findings have implications for designing future exhibitions and contribute to our broader understanding of how modern-day audiences perceive and respond to historical art exhibitions and the work they comprise.

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Everyday Encounters with Art: Comparing Expert and Novice Experiences

Cited by 7 publications

References 32 publications

The appropriation cycle: novice and expert consumers

The appropriation cycle: novice and expert consumers

Who likes the grotesque? Mapping individual differences in liking of grotesque artworks.

An exploratory study of historical representations of love in an art gallery exhibition.

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