In this research, the authors investigate the phenomenon of “art infusion,” in which the presence of visual art has a favorable influence on the evaluation of consumer products through a content-independent spillover of luxury perceptions. In three studies, the authors demonstrate the art infusion phenomenon in both real-world and controlled environments using a variety of stimuli in the contexts of packaging, advertising, and product design.
AlpertJudy I., and AlpertMark I., (1990), “Music Influences on Mood and Purchase Intentions,”Psychology & Marketing, 7(2), 109–133.
2.
ArgoJennifer J., DahlDarren W., and MoralesAndrea C., (2006), “Consumer Contamination: How Consumers React to Products Touched by Others,”Journal of Marketing, 70(April), 81–94.
3.
AverillJames R., StanatPetra, and MoreThomas A., (1998), “Aesthetics and the Environment,”Review of General Psychology, 2(2), 153–74.
4.
BalzerWilliam K., and SulskyLorne M., (1992), “Halo and Performance Appraisal Research: A Critical Examination,”Journal of Applied Psychology, 77(6), 975–85.
5.
BarghJohn A., and ChartrandTanya L., (2000), “The Mind in the Middle: A Practical Guide to Priming and Automaticity Research,” in Handbook of Research Methods in Social and Personality Psychology, ReisHarry T., and JuddCharles M., eds. Cambridge, UK: Cambridge University Press, 253–85.
6.
BaronReuben M., and KennyDavid A., (1986), “The Moderator-Mediator Variable Distinction in Social Psychological Research: Conceptual, Strategic, and Statistical Considerations,”Journal of Personality and Social Psychology, 51(6), 1173–82.
7.
BerlyneDaniel, E., ed. (1974), Studies in the New Experimental Aesthetics: Steps Toward an Objective Psychology of Aesthetic Appreciation.Washington, DC: Hemisphere.
8.
BourdieuPierre, and DarbelAlain, (1997), The Love of Art: European Art Museums and Their Public.Oxford: Blackwell.
9.
ChartrandTanya L., HuberJoel, ShivBaba, and TannerRobin J., (2008), “Nonconscious Goals and Consumer Choice,”Journal of Consumer Research, forthcoming.
10.
CraderSumire, and ZaichkowskyJudith L., (2007), “The Art of Marketing,” in Brick & Mortar Shopping in the 21st Century, LowreyTina M., ed. Mahwah, NJ: Lawrence Erlbaum Associates, 87–106.
11.
DeweyJohn, (1989), “Having an Experience,” in John Dewey: The Later Works, 1925-1953: Art as Experience, BoydstonJo Ann, ed. Carbondale: Southern Illinois University Press, 42–63.
12.
EpsteinEdward Jay, (1982), “Have You Ever Tried to Sell a Diamond?” in The Atlantic Monthly, (February), (accessed February 25, 2008), [available at http://www.theatlantic.com/doc/198202/diamond].
13.
FeldmanEdmund Burke, (1992), Varieties of Visual Experience, 4th ed.New York: Harry N. Abrams.
14.
FiskeSusan T., and NeubergSteven L., (1990), “A Continuum of Impression Formation from Category-Based to Individuating Processes: Influences of Information and Motivation on Attention and Interpretation,” in Advances in Experimental Social Psychology, Vol. 23, ZannaM.P., ed. New York: Academic Press, 1–74.
15.
FunchBjarne Sode, (1997), The Psychology of Art Appreciation.Copenhagen: Tusculanum Press.
16.
GornGerald, J., (1982), “The Effects of Music in Advertising on Choice Behavior: A Classical Conditioning Approach,”Journal of Marketing, 46(January), 94–101.
17.
HagtvedtHenrik, HagtvedtReidar, and PatrickVanessa M., (2008), “The Perception and Evaluation of Visual Art,”Empirical Studies of the Arts, forthcoming.
18.
HetsroniAmir, and TukachinskyRiva H., (2005), “The Use of Fine Art in Advertising: A Survey of Creatives and Content Analysis of Advertisements,”Journal of Current Issues and Research in Advertising, 27(1), 93–107.
19.
HoffmanBarry, (2002), The Fine Art of Advertising.New York: Stewart, Tabori and Chang.
20.
HolbrookMorris, B., (1999), “Popular Appeal Versus Expert Judgments of Motion Pictures,”Journal of Consumer Research, 26(September), 144–55.
21.
JaniszewskiChris, (1993), “Preattentive Mere Exposure Effects,”Journal of Consumer Research, 20(December), 376–92.
22.
JoyAnnama, and SherryJohn F., (2003), “Speaking of Art as Embodied Imagination: A Multisensory Approach to Understanding Aesthetic Experience,”Journal of Consumer Research, 30(September), 259–82.
23.
KaikatiJack, G., (1987), “Celebrity Advertising: A Review and Synthesis,”International Journal of Advertising, 6(2), 93–105.
24.
Kusin, & Company (2002), The European Art Market in 2002: A Survey.Helvoirt, the Netherlands: Kusin & Company.
25.
LevineLawrence, W., (1988), Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America.Boston: Harvard University Press.
26.
LewisRichard, W., (1996), Absolut Book: The Absolut Vodka Story.Boston: Tuttle Publishing/Journey Editions.
27.
LindgaardGitte, and Allan WhitfieldT.W., (2004), “Integrating Aesthetics Within an Evolutionary and Psychological Framework,”Theoretical Issues in Ergonomics Science, 5(1), 73–90.
28.
MargolinVictor, (1992), “Product Appeal and the Aura of Art,” in Objects and Images: Studies in Design and Advertising, VihmaSusann, ed. Helsinki: University of Industrial Arts, 198–207.
29.
MargolisJoseph, (1999), What, After All, Is a Work of Art? Lectures in the Philosophy of Art.University Park: Pennsylvania State University Press.
30.
MartorellaRosanne, ed. (1996), Art and Business: An International Perspective on Sponsorship.Westport, CT: Praeger.
31.
MoralesAndrea C., and FitzsimonsGavan J., (2007), “Product Contagion: Changing Consumer Evaluations Through Physical Contact with ‘Disgusting’ Products,”Journal of Marketing Research, 44(April), 272–83.
32.
MorrinMaureen, and RatneshwarS., (2000), “The Impact of Ambient Scent on Evaluation, Attention, and Memory for Familiar and Unfamiliar Brands,”Journal of Business Research, 49(2), 157–65.
33.
PeracchioLaura A., and Meyers-LevyJoan, (2005), “Using Stylistic Properties of Ad Pictures to Communicate with Consumers,”Journal of Consumer Research, 32(June), 29–40.
34.
RozinPaul, MillmanLinda, and NemeroffCarol, (1986), “Operation of the Laws of Sympathetic Magic in Disgust and Other Domains,”Journal of Personality and Social Psychology, 50(4), 703–712.
35.
ShrumWesley, M., (1996), Fringe and Fortune: The Role of Critics in High and Popular Art.Princeton, NJ: Princeton University Press.
36.
SilversteinMichael J., and FiskeNeil, (2003), Trading Up: The New American Luxury.New York: Penguin.
37.
SpangenbergEric A., CrowleyAyn E., and HendersonPamela W., (1996), “Improving the Store Environment: Do Olfactory Cues Affect Evaluations and Behaviors?”Journal of Marketing, 60(April), 67–80.
38.
TanseyRichard G., and KleinerFred S., (1996), Gardner's Art Through the Ages.Orlando, FL: Harcourt Brace.
39.
ThorndikeE.L., (1920), “A Constant Error in Psychological Ratings,”Journal of Applied Psychology, 4(1), 25–29.
40.
WartenbergThomas, E., (2006), The Nature of Art: An Anthology, 2d ed.Belmont, CA: Wadsworth.
41.
ZekiSemir, (2001), “Artistic Creativity and the Brain,”Science, 293(5527), 51–52.
42.
ZhuRui (Juliet), and Meyers-LevyJoan, (2005), “Distinguishing Between the Meanings of Music: When Background Music Affects Product Perceptions,”Journal of Marketing Research, 42(August), 333–45.