Location of Repository

Perceiving the art museum: Investigating visitation and non-visitation in Cyprus and abroad

By Theopisti Stylianou-Lambert

Abstract

The purpose of this research is to understand people’s perceptions regarding art museums\ud and galleries and the way these perceptions influence their visitation decisions. This study\ud explores the factors influencing museum perceptions, the way perceptions are formed, and\ud their function in the contemporary environment of Nicosia, the capital of Cyprus. With the\ud help of in-depth, semi-structured interviews, and by merging sociological and psychological\ud approaches which appear in the existing literature, a conceptual model was created.\ud According to this conceptual model, socio-cultural, individual, and environmental factors\ud shape our spectacles of perception and therefore the way we make sense of the world\ud around us. I explore the significance of power relations (engaging with Pierre Bourdieu’s\ud theory of cultural capital) and the way in which individuals construct and maintain selfidentity\ud through the drawing of symbolic boundaries. One of the main outcomes of this\ud study is the identification of different filters, named museum perceptual filters, which\ud “colour” our spectacles of perception and force us to view and use art museums in different\ud ways. The 8 museum perceptual filters identified in this study are the following: (a)\ud professional, (b) art-loving, (c) self-exploration, (d) cultural tourism, (e) social visitation, (f)\ud romantic, (g) rejection, and (h) indifference filter

Publisher: University of Leicester
Year: 2007
OAI identifier: oai:lra.le.ac.uk:2381/7519

Suggested articles

Preview

Citations

  1. (2000). [Computer Software].
  2. (2005). 1Vivo software program. Retrieved September 9,
  3. (2004). A Comparative Study of International Cultural Tourists.
  4. (2001). A Museum is an Open Work.
  5. (1992). A Survey of Visitors at an Art Gallery, Cultural History Museum, Science Center, and Zoo.
  6. (1987). Accounting for Tastes: Some Problems in Bourdieu’s Sociology of Culture.
  7. (2002). Activity-based Market Sub-segmentation of Cultural Tourists.
  8. (2006). Alternative media and social justice movements: the development of a resistance performance paradigm of audience analysis.
  9. (2006). An Identity-Centered Approach to Understanding Museum Learning.
  10. (1974). Art and the Aesthetic.
  11. (2005). Art and the State: the visual arts in comparative perspective.
  12. (1975). Art Museums as perceived by the Public.
  13. (1982). Art Worlds.
  14. (2004). Arts participation as cultural capital in the United States, 1982-2002: Signs of decline?
  15. (1993). Associates
  16. (1996). Audience research tells us why visitors come to museums – and why they don’t. Evaluation and visitor research in museums: Towards
  17. (1977). Audience studies in the performing arts and museums: A critical review. Washington: Nationals Endowment for the Arts.
  18. (1995). Audiences – a curatorial dilemma. In
  19. (2003). Audiences and readers of alternative media: The absent lure of the virtually unknown.
  20. (2004). Audiences, museums and the English middle class.
  21. (1998). Audiences: A Sociological Theory of Performance and Imagination.
  22. (1983). Behavioural consistency and visitor attraction.
  23. (2002). Behind the scenes at the Science Museum.
  24. (1992). Beyond the Brillo Box: the visual arts in post-historical perspective.
  25. (1991). Beyond the Glass Case. Leicester:
  26. (1993). Bourdieu in America: Notes on the Transatlantic Importation of Social Theory. In
  27. (1999). Bourdieu on Art: Field and Individual. In
  28. (1990). Bringing History and the Arts to a 1ew Audience: Qualitative Research for the London Borough of Croydon.
  29. (1990). Bringing History and the Arts to a 1ew Audience. Qualitative Research for the London Borough of Croydon. Croydon: London Borough of Croydon.
  30. (1994). By Popular Demand: A Strategic Analysis of the Market Potential for Museums and Art Galleries in the UK. London: Museums and Galleries Commission.
  31. (2003). Case Studies. In
  32. (1996). Changing Highbrow Taste: From Snob to Omnivore.
  33. (1997). Changing representation of status through taste displays: An introduction.
  34. (2002). Class Rites in the Age of the Blockbuster. In
  35. (1998). Collecting and analysing qualitative data: issues raised by the focus groups.
  36. (2000). Communicating Identity: Perceptions of the Museum of Scotland.
  37. (2004). Configuring Reception: (Dis-)Regarding the ‘Spectator’ in Museums and Galleries.
  38. (1996). Constructivist Learning Theory. In
  39. (2004). Consumer Behavior and Culture.
  40. (2004). Consumer Behaviour.
  41. (1997). Consumption, Food and Taste.
  42. (1990). Consumption, Identity and Style: Marketing, Meaning and the Packaging of Pleasure.
  43. (1999). Contemporary Museum Culture and Consumer Behaviour.
  44. (1996). Contemporary Philosophy of Social Sciences.
  45. (1985). Creative Interviewing.
  46. (1997). Critical Perspectives within Audience Research. In T.
  47. (1985). Cultural Capital, Educational Attainment, and Marital Selection.
  48. (1990). Cultural Capital, Student Achievement, and Educational Reproduction: The Case of Greece.
  49. (1994). Cultural Identity and Global Process.
  50. (1992). Cultural Imagining Among Museum Visitors.
  51. (1973). Cultural Reproduction and Social Reproduction. In Brown,
  52. (2005). Cultural sociology at the crossroads of the discipline.
  53. (2000). Cultural Studies: Theory and Practice.
  54. (1995). Cultural tourism and business opportunities for museums and heritage sites.
  55. (1996). Cultural Tourism as Serious Leisure.
  56. (1998). Cultural Tourism in Australia: characteristics and motivations.
  57. (2002). Culture and tourism: a framework for further analysis.
  58. (1991). Culture as Class Socialization or Mass Reification: A Critique of Bourdieu’s Distinction.
  59. (2000). Culture consumption in Sweden: The stability of gender differences.
  60. (2003). Culture on Display: The Production of Contemporary Visitability. Berkshire:
  61. (1996). Culture, class, and connections.
  62. (1996). Decoding the Visitor’s Gaze: Rethinking Museum Visiting. In
  63. (1991). Dingy places with different kinds of bits”: an attitudes survey of London museums among non-visitors. London: London Museums Service.
  64. (1997). Distinction in America? Recovering Bourdieu’s theory of taste from its critics.
  65. (2003). Distinction worldwide?: Bourdieu’s theory of taste in international context.
  66. (1986). Distinction: A Social Critique of the Judgment of Taste.
  67. (1998). Does Cultural Capital Structure American Consumption?
  68. (2006). Doing Identity Work in Museums.
  69. (2000). Doing Qualitative Research Differently: free association, narrative and the interview method. London, Thousand Oaks,
  70. (1972). Elements for a Sociology of Museums.
  71. (2001). Encoding/ Decoding. In
  72. (1991). Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects. In
  73. (2001). Experiential Cultural Tourism: Museums & the Marketing of the New Romanticism of Evoked Authenticity.
  74. (1999). Exploring satisfying experiences in museums.
  75. (1990). Factors Influencing Museum Visits: An Empirical Evaluation of Audience Selection.
  76. (1997). Family Agendas and Family Learning in Hands-On Museums. Unpublished doctoral dissertation,
  77. (2001). Feminism, Postmodernism and the ‘Real Me’.
  78. (2001). Focus Groups In Social Research. London, Thousand Oaks,
  79. (2003). From the habitus to an individual heritage of dispositions. Towards a sociology at the level of the individual.
  80. (2005). Greek-English Lexicon Fytrakis. Athens: Fytrakis Publishings.
  81. (2003). Ground Rules for Good Research: a 10 point guide for social researchers.
  82. (2003). Having One’s Tate and Eating it: Transformations of the Museum in a Hypermodern Era. In
  83. (1992). High Culture versus Popular Culture Revisited: A Conceptualization of Recorded Cultures.
  84. (2003). How heterogeneity in cultural tastes is captured by psychological factors: a study of reading fiction.
  85. (2000). Impact of National Aquarium in Baltimore on visitors’ conservation attitudes, behavior, and knowledge.
  86. (1993). Inside culture: Art and class in the modern American home. Chicago:
  87. (2003). Inside Subculture: The postmodern meaning of style.
  88. (2001). Interpreting Qualitative Data: Methods for Analysing Talk, Text and Interaction.
  89. (1999). Interviewing for Social Scientists: An Introductory Resource with Examples.
  90. (1995). Intrinsic Motivation in Museums: Why Does One Want to Learn? In
  91. (2003). Investigating the Impact of Prior Knowledge and Interest on Aquarium Visitor Learning.
  92. (1992). Key Sociologists: Pierre Bourdieu.
  93. (1996). Knowing Our Visitors: Market Survey. Nottingham: East Midlands Museums Services.
  94. (2000). Learning from Museums: Visitor Experiences and the Making of Meaning.
  95. (1996). Learning Styles. In
  96. (1983). Leisure Identities and Interactions.
  97. (2004). Leisure Inequalities, Class Divisions and Social Exclusion in Present-day Britain.
  98. (2000). Lifestyle and Social Class.
  99. (2001). Lifestyle segmentation and museum/gallery visiting behavior.
  100. (2002). Looking Through the Glass: Reflections of Identity in Conversations at the History Museum. In
  101. (1990). Making Distinctions: The Eye of the Beholder. In
  102. (2002). Marketing the Art Museum: The Public’s Attitudes and Beliefs. Unpublished master’s dissertation,
  103. (1987). Material Culture and Mass Consumption.
  104. (1992). Money, Morals and Manners.
  105. (2004). Motivation, Ability and Opportunity to Participate: a Reconceptualization of the RAND model of Audience Development.
  106. (2002). Motivational factors and the visitor experience: A comparison of three sites.
  107. (1996). Multiple Intelligences. In
  108. (1981). Museum Marketing: Identification of High, Moderate, and Low Attendee Segments.
  109. (1985). Museum visiting and unemployment.
  110. (1989). Museum Visiting as a Cultural Phenomenon. In
  111. (1996). Museum visitor preferences and intentions in constructing aesthetic experience.
  112. (1996). Museum visitors and non-visitors in Germany: A representative survey.
  113. (1990). Museumgoers Life-Styles and Learning Characteristics. In
  114. (1988). Museums and the Media: a Theoretical and Methodological Exploration.
  115. (1994). Museums and their visitors.
  116. (1985). Museums as Status Symbols II: Attaining a State of Having Been. In
  117. (2007). Museums, Prejudice and the Reframing of Difference.
  118. (1992). Neon cages: shopping for subjectivity. In
  119. (1991). Nooding Around with Exhibition Opportunities. In
  120. (1982). On cultural freedom: An exploration of public life in Poland and America. Chicago:
  121. (2001). Ordinary Consumption.
  122. (1968). Outline of a Sociological Theory of Art Perception.
  123. (1977). Outline of a Theory of Practice.
  124. (1996). Painting by number.
  125. (2007). Perceiving the art museum. In
  126. (2003). Performance and Performativity at Heritage Sites. Museum and Society,
  127. (2005). Picturing the Self: Changing Views of the Subject in Visual Culture.
  128. (1999). Popular Culture & High Culture. New York: Basic Books, Perseus Books Groups.
  129. (1997). Popular Music is Plural.
  130. (1988). Possessions and the Extended Self.
  131. (1994). Qualitative Data Analysis: An Expanded Sourcebook. Thousand Oaks,
  132. (2005). Qualitative Interviewing: The Art of Hearing Data. Thousand Oaks,
  133. (1994). Qualitative Research Methods From the Reviewer’s Perspective. In
  134. (2001). Qualitative Researching.
  135. (1987). Real Punks and pretenders. The social organization of a counterculture.
  136. (1996). Redefining Cultural Tourism.
  137. (1993). Remembering rats, considering culture: perspectives on museum evaluation.
  138. (1999). Research and Development Intercollege (Κέντρο Ερευνών και Ανάπτυξης Intercollege)
  139. (2002). Research code of conduct. Retrieved
  140. (2003). Research Design: Qualitative, Quantitative and Mixed Methods Approaches. Thousand Oaks,
  141. (2000). Resources for studying public participation in and attitudes towards the arts.
  142. (1996). Revealing Socially Constructed Knowledge Through Quasi-Structured Interviews and Grounded Theory Analysis.
  143. (1998). Review of Audiences: a sociological theory of performance and imagination.
  144. (2000). Richard Peterson and cultural theory: From genetic, to integrated, and synthetic approaches.
  145. (1995). Ritual and relationships: interpersonal influences on shared consumption.
  146. (1996). Scanning Museum Visitors.
  147. (1997). Seeking Generic Motivations for Visiting and Not Visiting Museums and Like Cultural Attractions.
  148. (1978). Social class and arts consumption: the origin and consequences of class differences in exposure to the arts in America. Theory and Society,
  149. (1978). Social Differences in Leisure Behavior: Measurement and Interpretation.
  150. (1999). Socialization, education, and lifestyle: How social mobility increases the cultural heterogeneity of status groups.
  151. (2002). Statement of Ethical Practice for the British Sociological Association. Retrieved on
  152. (2006). Statistical Service of the Republic of Cyprus
  153. (1983). Staying Away – Why People Choose Not To Visit Museums. Museum 1ews,
  154. (2003). Strategies of Qualitative Inquiry. Thousand Oaks,
  155. (1991). Structure and choice in the sociology of culture.
  156. (2005). Studying Visitors.
  157. (1995). Substantive Theories and Formal Models--Bourdieu Confronted.
  158. (1999). Surveys of Public Attitudes Towards the Arts: What Surveys Tell us About the Arts’ Political Trials—and How They Might Tell us Even More. (National Endowment for the Arts). Arts Education Policy Review,
  159. (1990). Symbols and Social Life: The Growth of Cultural Studies.
  160. (1959). Symbols for Sale.
  161. (1996). That those who run may read: museums and barriers to access. In
  162. (2000). The ‘expert visitor’ concept.
  163. (1993). The Aesthetics of Power: Essays in Critical Art History.
  164. (1995). The Art of Case Study Research. Thousand Oaks,
  165. (1990). The Art of Seeing: An Interpretation of the Aesthetic Encounter.
  166. (1980). The arts in education and cultural production: the social role of aesthetic education and the arts.
  167. (1992). The Audience for Abstract Art: Class, Culture, and
  168. (1991). The Audience for American Art Museums. 1ational Endowment for the Arts Research Division Report 23.
  169. (2002). The Consumption of Cultural Products: An Analysis of the Spanish Social Space.
  170. (2002). The distance of Taste: Bourdieu, cultural capital and the Australian postwar elite.
  171. (1993). The enigma of the visitor sphinx.
  172. (2006). The Feeling of exclusion’: Young peoples’ perceptions of art galleries.
  173. (1989). The General Public and the Art Museum: Case Studies of Visitors to Several Institutions Identify Characteristics of Their Publics.
  174. (1990). The General Public’s Participation in Art Museums: Visitors Differ from Non-Visitors, But Not as Markedly as Case Studies Have Indicated.
  175. (1991). The Getty Center for Education in the Arts
  176. (2003). The Good Research Guide for Small-scale Social Research Projects.
  177. (1987). The Historical Genesis of a Pure Aesthetic.
  178. (1991). The Ideological Octopus: an exploration of television and its audience.
  179. (2002). The Impact of Free Entry to Museums.
  180. (1998). The Institutional Theory of Art. In
  181. (1973). The Interpretation of Cultures: selected essays.
  182. (1991). The Love of Art: European Art Museums and their Public.
  183. (1970). The Museum - A Social Context for Art. Unpublished doctoral dissertation,
  184. (1991). The Museum as a Way of Seeing. In
  185. (1985). The museum as dreamland.
  186. (2000). The museum environment and the visitor experience.
  187. (1992). The Museum Experience.
  188. (1985). The Museum in the City.
  189. (1990). The Philosophy of Social Research.
  190. (1988). The practice of everyday life.
  191. (1991). The Problem of Taste within the Problematic of Culture.
  192. (1986). The production of belief: contribution to an economy of symbolic goods. In
  193. (1992). The Production of Culture: Media and the Urban Arts.
  194. (1993). The public interest in the art museum’s public.
  195. (2006). The Puzzle of Museum Educational Practice:
  196. (1994). The Reluctant Museum Visitor: A Study of 1on-Goers to History Museums and Art Galleries.
  197. (1997). The rise and fall of highbrow snobbery as a status marker.
  198. (1999). The Social Conditions of the International Circulation of Ideas. In
  199. (1998). The Stratification of Leisure and Taste: Classes and Lifestyles in Israel.
  200. (1956). The Use of Leisure and its Relation to Levels of Occupational Prestige.
  201. (1989). The Visitor: Who Cares? In
  202. (1991). The Work of Pierre Bourdieu: Recognizing Society. Milton Keynes:
  203. (1996). Theory, Research & Practice: Selected Papers from the
  204. (1992). Understanding audience segmentation: From elite and mass to omnivore and univore.
  205. (2001). Understanding Audiences: Theory and Method.
  206. (2003). Variations as rational decision-making: A critique of Bourdieu’s analysis of cultural value.
  207. (1983). Visitor characteristics and behaviour.
  208. (1996). Visitor take-aways: what are the outcomes of visits to museums and similar centres? Evaluation and visitor research in museums: Towards
  209. (1996). Visitors Make Their Own Meaning. In
  210. (1997). Visitors to the Smithsonian Institution: Some Observations.
  211. (2004). What amazed me most at the museum today…: The impact of museum visits on pupils at key stage 2. UK: Museums, Libraries and Archives Council.
  212. (1993). What does the visitor want from a museum? Mass-media aspects of museology.
  213. (1999). Why study the media.
  214. (1993). Your future on one piece of paper: Mind-Mapping for personal and professional development.
  215. (1999). Άπαντα Ποιητικά. Αθήνα: Ύψιλον/ βιβλία.

To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request.