Presentation of Graduate Project In Creative Industries And Cultural Assets _Mackie

How does Shopping Mall Use Art to Attract Visitors: A Case Study of K11 MUSEA in Hong Kong CAI Meiqi

CICA A898BF Graduate Project In Creative Industries And Cultural Assets Ms. Janet Lau

1

1

01 ABSTRACT

⋯⋯⋯⋯3

02

CONTENTS

LITERATURE REVIEW ⋯⋯⋯⋯10 & CONCEPTUAL FRAMEWORK

03 METHODOLOGIES

⋯⋯⋯⋯14

04 RESULTS & DISCUSSIONS

⋯⋯⋯⋯ 16

05 CONCLUSION

⋯⋯⋯⋯ 23 2

2

ABSTRACT

3

ABSTRACT Background: Art Mall K11 MUSEA attract many young visitors. But no research has focused on relevance between the needs of the artworks, shopping mall and visitors.

Research question: How does Hong Kong's Art Mall K11 MUSEA use art to interact with visitors in the mall?

Methodologies: Existing data (K11 MUSEA’s artworks); Participant observation (How K11 MUSEA uses artworks to interact with visitors); Surveys (12 K11 MUSEA's visitors).

Results: K11 MUSEA’s artworks have a strong relevance to the conditions of today‘s Hong Kong society. Providing social status to the shopping mall and satisfy millennial consumers’ motivations.

Conclusion: Contemporary art has aesthetic value, social value and investment value that fits the needs of K11 MUSEA and millennial consumers.

Limitation: The sample size is not representative of Hong Kong citizens.

Suggestion: K11 MUSEA can refer to the “Ways of looking” framework of Tate Modern Museum.

Image: https://image.architonic.com/prj2-3/20085554/kpf-k11-musea-atvictoria-dockside-architonic-dsc-1834-02-arcit18.JPG

4

4

LITERATURE REVIEW & CONCEPTUAL FRAMEWORK

5

LITERATURE REVIEW The emergence of Art Mall

Art Museum

Image: https://www.brandeis.edu/rose/_images/recollections-homepage.jpg https://www.swireproperties.com//media/images/swireproperties/siteimages/thumbnailimages/2020_tk h_row1.ashx?bc=dbdbdb&as=0&db=web&h=729&vs=1&w=1094&has h=DB81464E4C71ECD1363DF65E4C5051B5

Both:

Shopping mall

Allow users to have free access to their facilities (Gurian, 2006, p. 123).

6

6

LITERATURE REVIEW The emergence of Art Mall

Shopping malls are facing operational challenges

1. Six generations of shoppers

2. Young consumers spend

3. Online shopping

(The Future of Shopping Centers, n.d., “A quick lesson in demography” section).

more money on experiences.

(Grosman, 2018, para. 1-2)

Image: https://www.kearney.com/documents/20152/4955961/FG-Future-of-Shopping-Centers04.png/db81be5e-7630-43af-9a4c-8237bcb5852f?t=1578676882000 https://www.kearney.com/documents/20152/4955961/FG-Future-of-Shopping-Centers06.png/cbcce394-e5cc-2a02-85c1-96ca7254999d?t=1578676882000 https://ifashiontrend.com/wp-content/uploads/2015/09/online-shopping-ecommerce.png

(The Future of Shopping Centers, n.d., “A quick lesson in demography” section).

7

7

LITERATURE REVIEW The emergence of Art Mall

Art museums need to attract more people Wunderkammer

Museum Seen as ugly examples of vested interests ignoring the needs of society by public (Burcaw, 1997, p. 137)

Various Museums Art museum, general museum, children museum, nature center, science center, etc.

(Burcaw, 1997, pp. 24-26) Image: https://images.adsttc.com/media/images/5f15/bbeb/b357/65a7/4100/0024/slideshow/East_Wing_2.jpg?1595259875 http://floridaphotomatt.com/wp-content/photos/2013/07/Legoland-Florida-Glazer-Childrens-Museum.jpg https://www.worldarchitects.com/images/CmsPageElementImage/99/14/05/5903c1c4cac44a5ab4f9346367d6201c/5903c1c4cac44a5ab4f93 46367d6201c.f5fb7444.jpg?1493418448 https://www.slsc.org/wp-content/uploads/2018/07/science-center-explore-dino.jpg https://dam-13749.kxcdn.com/wp-content/uploads/2020/05/6a0c906d3efdf6360a173f3e3dec8148.jpg https://cdn3.vectorstock.com/i/1000x1000/10/32/historical-museum-with-various-display-exhibit-vector-21261032.jpg https://magazine.tcu.edu/wp-content/uploads/2017/08/SUM17-AM-Syllabus_Amon-Carter_2_C-1024x768.jpg https://www.onlygfx.com/wp-content/uploads/2018/09/7-comic-arrow-1.png

“Teaching machine” (Locker, 2010, pp. 20-21)

8

8

LITERATURE REVIEW The emergence of Art Mall

Art Mall -K11 MUSEA

Art needs audiences

Art: the 4th element of the commercial atmoshpere (Vukadin et al., 2018, “Conclusion” section)

1

2

Art galleries: display 10-15% of the contemporary art (Altshuler, 2005, p. 23) Image: https://images.miamiandbeaches.com/crm/simpleview/image/upload/w_1440,h_900,c_fit/crm/miamifl/Convention_Center_Show_Misc_ General_Impressions_1440x9000_e8e9e936-5056-a36a-0bfc518d4f3a4936.jpg http://cdn2.cincinnatimagazine.com/wp-content/uploads/sites/5/2016/11/CM_NOV16_FL_PopLife_SizeMatters1-1-e1478531318190.jpg https://www.sassyhongkong.com/wp-content/uploads/2019/08/eat-drink-k11-musea-restaurants.jpg https://i.hurimg.com/i/hdn/75/0x0/59c709bd45d2a027e83a1612.jpg https://image.topbeautyhk.com/wp-content/uploads/2018/12/4ddfc7d07911fe585ddd40ba8bcac817.jpg

3

4

Destination centers (The Future of Shopping Centers, n.d., “Variations on a theme” section) 9

9

LITERATURE REVIEW Visitors to the Art Mall

Year 1983

Researcher Hood

1991

McManus

2000

Falk et al.

2003

Slater

2012

Graburn

Motivations of Museum & Shopping mall visitors

Motivations Being with others or interacting socially, doing something worth doing, being at ease in their surroundings, the challenge of new experiences, learning opportunities, and active participation Pursuit of personal interests, the hope of discovering new information, the pursuit of pleasure, relaxation and socialization Education, entertainment, social interaction, life cycle, convenience of location and practicality Social and family interaction, learning and escape Socializing, entertaining, educational and worship

Year 1972 1990 1994 2003 2009

Researcher Motivations Tauber Personal and social Dawson et al. Experience and product-related needs Bloch et al. Aesthetics, escape, exploration, flow, epistemic and social Arnold et al. Hedonic shopping motives: adventure shopping, social shopping, satisfaction shopping, idea shopping, role shopping and value shopping Patel Utilitarian to hedonistic and experiential purposes

Museum: Included social purposes, not just learning.

Shopping mall: Included social and entertain purposes, not just buying.

(Hood, 1983) (McManus, 1991) (Falk et al., 2000) (Slater, 2007) (Graburn, 2012)

(Tauber, 1972) (Dawson et al.,1990) (Bloch et al., 1994) (Arnold et al., 2003) (Patel, 2009)

Note. These tables were compiled by the author.

10

10

LITERATURE REVIEW Visitors to the Art Mall

A comparison of visitor motivations between museums and shopping malls

Motivations Museum Utilitarian Doing something worth doing, convenience of location and practicality.

Restorative Being with others or interacting socially, being at ease in their surroundings, active participation, the pursuit of pleasure, relaxation and socialization, entertainment, life cycle, escape, worship, relaxation.

SelfThe challenge of new experiences, enhancing learning opportunities, pursuit of personal interests, the hope of discovering new information, education, learning.

Shopping mall Product-related needs, value shopping, utilitarian.

Aesthetics, escape, flow, social, social shopping, satisfaction shopping, idea shopping, role shopping, hedonistic, exploration, adventure shopping.

Epistemic.

Restorative motivation: Overlaps the most - assuming that K11 MUSEA visitors are motivated by this.

(Hood, 1983) (McManus, 1991) (Falk et al., 2000) (Slater, 2007) (Graburn, 2012) (Tauber, 1972) (Dawson et al.,1990) (Bloch et al., 1994) (Arnold et al., 2003) (Patel, 2009) Note. This table was compiled by the author.

11

11

LITERATURE REVIEW Visitors to the Art Mall

Gender and age differences

Men: resistance to external influences, linear thinking Women: empathizing with others, spiral thinking (Eagly, 2013, p. 98) (Kaufmann & Panni, 2020, p. 187)

Image: https://t4.ftcdn.net/jpg/01/94/27/83/360_F_194278319_8E6mXSwODXyEuscPc07SPIiy94DYEhzC.jpg https://www.youth.gov.hk/html/www/en/images/career-and-study/stories/coverphoto/dse_nurse_900.jpg https://blog.sprinklr.com/wp-content/uploads/2016/04/moosylvania-millennials-study.png

Millennials: l Love experiences (The Future of Shopping

Centers, n.d., "A quick lesson in demography" section)

l High levels of consuming power (Martin & Turley, 2004, pp. 465-466)

l Tech-savvy (Kaufmann & Panni, 2020, p. 185) l Post comment (Kaufmann & Panni, 2020, p. 186) 12

12

LITERATURE REVIEW Art values

The definition of art is changing

Tradtional art: l Latin ars, technology and craft

Contemporary art: l Almost all creative knowledge

l Elite art: art form (Burcaw, 1997, p.

l Mass art: ideas (Burcaw, 1997, p. 129) l 3-D: installation Invisible form: network art.

(Sun, 2009, pp. 2-3).

129)

l 2-D: painting

Image: https://mymodernmet.com/wp/wp-content/uploads/2018/05/painting-ideas-3-1.jpg https://www.artlabaustralia.com.au/__data/assets/image/0007/201796/Services-Contemporary-ArtWR-20182S1-840-x-320-px.jpg

(Sun, 2009, pp. 2-3)

13

13

LITERATURE REVIEW Art values

The definition of art is changing

Symbols are generated by society.

(Saussure, 2011; Serpe & Stryker, 2011, p. 226 )

Contemporary art = Collective Representations of Millennials l Works are difficult to classify, anti-formalist from the 1960s.

(Altshuler, 2005, p. 56)

Image: https://upload.wikimedia.org/wikipedia/commons/d/d6/Saussure_Signifie-Signifiant.png https://miro.medium.com/max/1838/1*i6xM6UKlnhrgJCcVI1sb-Q.png https://image-cdn.hypb.st/https%3A%2F%2Fhypebeast.com%2Fimage%2F2018%2F04%2Fjoan-cornellastudio-concrete-exhibit-seoul-south-korea-0.jpg?w=960&cbr=1&q=90&fit=max

l Formalism and minimalism art: championed by art forums 14 and advanced museums for decades. (Salle, 2016, pp. 157-158)

14

LITERATURE REVIEW Art values

Art values

Contemporary era:

Collectible values (Burcaw, 1997, pp. 37-38) Aesthetic value (Forsey, 2017, p. 181) Artistic value (STECKER, 2012, p. 356) Social value (Shnayerson, 2019, Chapter 11, para. 5)

Artistic value=Price (Velthuis, 2003, p. 186)

Aesthetic value Social value Investment value (Velthuis, 2003, p. 186)

Investment value (Shnayerson, 2019, Chapter 11, para. 6)

15

15

LITERATURE REVIEW Social and cultural relations

The definition of culture is changing

Tradtional culture: elegant

Contemporary culture: inherited concepts expressed in symbolic form

(Griswold, 2013a, p. 6)

(Griswold, 2013b, p. 9)

Every society has its own culture Image: https://www.namesnack.com/images/namesnack-elegant-business-names-5827x388520200918.jpeg?crop=4:3,smart&width=1200&dpr=2 https://media.istockphoto.com/photos/hongkong-kowloon-street-scene-pictureid623921678?k=6&m=623921678&s=612x612&w=0&h=PPaa_k9K0bOmpOdbXOurk4FbRC9pP8CandBtHf8GDR8=

16

16

LITERATURE REVIEW Social and cultural relations

Social theory

Image: http://cdn.shopify.com/s/files/1/0031/5352/articles/self-reflection-introspection.jpg?v=1565878796 https://www.quotemaster.org/images/3b/3b9fc87c476145f2e3cf099aebc62268.jpg= https://sk-sagepub-com.ezproxy.lib.ouhk.edu.hk/books/cultures-and-societies-in-a-changing-world-4e/n1.xml https://images-na.ssl-images-amazon.com/images/I/41LUruAawBL.jpg https://e7.pngegg.com/pngimages/85/876/png-clipart-right-and-wrong-correct-wrong.png

Lack of dealer.

Reflection theory: people are aware → reflection

Cultural diamond: relationship → cultural object and the social world

(Boud et al.,1985, p. 19)

(Griswold, 2013, p. 16)

Social Constructionism: social problems are troubles→ human identity

Cultural production: art production → "material" and "symbol (value)"

(Loseke, 2003, pp. 13-14)

(Bourdieu, 1993, p. 37)

17

17

CONCEPTUAL FRAMEWORK

18

18

METHODOLOGIES

19

METHODOLOGIES M. 1

M. 2

M. 3

Existing data

Participant observation

Surveys

M1

M2

M3

April 18 to July 20, 2021

April 26, 2021, 11:30 a.m.-12:20 p.m.

May 16, 2021

Collected 54 artworks’ photos and textual introduction from "ARTWORK" web page (https://www.k11musea.com/ art-andculture/artwork/),

Excel (artists’ name, created year, material, size, location, votes, introduction),

Textual analysis, See how K11 MUSEA introduces these works of art.

Art Tour in K11 MUSEA, Mobile phones (the words and actions

of the staff and other participants, routes and artworks),

Content analysis, Understand the introduction intention of K11 MUSEA.

Partially close-ended questionnaire (19 questions), 8 visitors – in person, Entrance of K11 MUSEA at the Ground Floor.

June, 2021 SurveyMonkey (English and Chinese versions),

4 visitors – Instagram.

20

20

RESULTS & DISCUSSIONS

21

RESULTS & DISCUSSIONS RESULTS

K11 MUSEA’s Artworks

1.

Introduce Artists

2.

Artists from all over the world

K11 MUSEA wants to be an art dealer for global artists with potential contemporary artworks .

Image: https://www.k11musea.com/art-and-culture/artwork/ https://upload.wikimedia.org/wikipedia/commons/thumb/4/41/Simple_world_map.svg/2560pxSimple_world_map.svg.png https://media.k11.com/images/art_piece_banners/137.large.jpg?1596426281 https://media.k11.com/images/art_piece_banners/151.large.jpg?1620369636 Source: https://www.k11musea.com/art-and-culture/artwork/

3.

Internationally renowned art institutions

4.

Contemporary art 2004 -2021

Social and investment value from contemporary art.

22

22

Image: https://media.k11.com/images/art_piece_banners/12.large.jpeg?1588749825

RESULTS & DISCUSSIONS RESULTS

No. 1: 873 likes

No. 2: 732 likes

No. 3: 684 likes

1, 2, Cha Cha Cha Location: B1 (Until July 20th)

Untitled Street Sign (Mongkok) Location: B3 (Until July 20th)

Untitled Location: GF (Until July 20th) 23

23

RESULTS & DISCUSSIONS RESULTS

K11 MUSEA’s Artworks

No. 2: 732 likes Untitled Street Sign (Mongkok) Location: B3 (Until July 20th) Image: https://bnextmedia.s3.hicloud.net.tw/image/album/2020-09/img-1600241774-86380@900.jpg=

Recollect

Neon sign (Tak Seng Pawn Shop) 24

24

RESULTS & DISCUSSIONS RESULTS

K11 MUSEA’s Art Tour

Ritual: participants, symbols, audiences and communities. (Alexander, 2004, p. 527) Collective effervescence: emotional resonance. (Griswold, 2013, pp. 52-53)

K11 MUSEA uses Art Tours to attract visitors.

25

25

RESULTS & DISCUSSIONS RESULTS

K11 MUSEA visitors’ motivations

6 + 6 Age: 15 to 44, ~ 91% (11 ppl.)

Education: post-secondary education or above, 75% (9 ppl.)

Career: full-time students ~33% (4 ppl.), Average monthly earnings: HK$10,001 to HK$20,000, ~ 40% (5 ppl.).

Residential area: New Territories and Kowloon, ~ 91% (11 ppl.)

Birthplace: Hong Kong, 67% (8 ppl.)

Millennials with at least post-secondary education, low level of income and living in the New Territories and Kowloon.

26

26

RESULTS & DISCUSSIONS RESULTS

K11 MUSEA visitors’ motivations

7

11 respondents

6 5

One female jewelry designer from Russia was able to volunteer the name of the artist.

4 3 2

Art: the 4th element to regulate the retail atmosphere(Vukadin et al.,

1

2018, “Conclusion” section) ,

0 Kill time

Shopping

Food

Work or business

Image: https://upload.wikimedia.org/wikipedia/commons/thumb/8/87/Light_Bulb_or_Idea_Flat_Ic on_Vector.svg/857px-Light_Bulb_or_Idea_Flat_Icon_Vector.svg.png

Art

Movie

Take photos

K11 MUSEA = a spiritual place Restorative motivation

K11 MUSEA does not serve the educational role of an art museum.

27

27

RESULTS & DISCUSSIONS RESULTS

K11 MUSEA visitors’ motivations

Art satisfaction rating (1-7) ”Art visit satisfaction" ”Willingness to visit the art again" ”Recommending others to visit"

4.33

6.22

Comments Men Respondent 1: “… no label next to the artwork, difficult to understand.”

Respondent 6: “… the Statue of David and the Bauhaus design that can be called ‘art’…”

Respondent 8: “… just use art to package the mall, and there is no atmosphere to appreciate art…”

Woman Respondent 7: “… makes me want to stop slowly and pay more attention to life in my busy life. Also want to know the artists and the artworks.”

Respondent 12: “… really love K11!”

Gender differences Men are more resistant to outside influences and women are more empathetic.

28

28

Image: https://www.fluentin3months.com/wp-content/uploads/2020/07/GoldNumbers0-9-1024x1024.jpg

RESULTS & DISCUSSIONS DISCUSSIONS

Investment value Contemporary art: increasingly valuable in the art auction market (McAndrew, n.d., p. 103)

Contemporary art

K11 MUSEA & HK Millennials

Social value Gain popularity by buying art (Shnayerson, 2019, Chapter 11, para. 5).

Millennials: highest buyers in the art market 2020 (McAndrew, n.d., p. 266)

Aesthetic value Millennials: comfortable lives, embracing change, also technical (Kaufmann & Panni, 2020, pp. 185-186).

Contemporary society: dominated by media images (Griswold, 2013, p. 42).

•

•

Become visitors

Hong Kong‘s industry : seriously unbalanced (Xianggang Chanye Jiegou, 2021).

Wealth distribution: unreasonable (Li, 2016, p.

27).

•

•

Cultural democracy: MaD@West Kowloon and Woofer Ten's art project Few Few Prize, Many Many Praise (Cheung, 2015).

Post-materialism (Li, 2016, p. 37).

K11 MUSEA uses the material and symbolic values of contemporary artworks to attract many millennial visitors who are currently most willing to consume for the experience.

29

29

RESULTS & DISCUSSIONS

Image: https://www.uvic.ca/education/curriculum/assets/images/photos/mains/minor-in-art-ed.jpg https://cdn.wallpaper.com/main/styles/fp_1540x944/s3/2016/04/the-new-tate-modernimage-1-hayes-davidson-and-herzog-de-meuron_f.jpg

DISCUSSIONS

Reflecting the lack of arts education in Hong Kong

Suggestion

Art education in kindergartens has insufficient time, space and resources ("Lack of Resources" section); Many art activities in Hong Kong, almost no art criticism articles are published in newspapers, no professional curatorial study (Ding, 2020, “Bentu yishu de weilai⋯⋯” section).

Understand contemporary art “Ways of looking” frameworks from TATE MODERN: 1. A Personal Approach 2. Looking at the Subject 3. Looking at the Object 4. Looking at the Context (Ways of Looking, 2002)

30

30

CONCLUSION

31

CONCLUSION

The aesthetic value, social value and investment value of contemporary art can be given to both K11 MUSEA and millennial consumers. But more important to K11 MUSEA is the social and investment value; More important to the millennial consumer in the mall is the social value.

32

32

THANK YOU

33

Reference About K11 MUSEA. (n.d.). K11 MUSEA. Retrieved July 28, 2021, from https://www.k11musea.com/about-k11-musea/ Alexander, J. C. (2004). Cultural Pragmatics: Social Performance Between Ritual and Strategy. Sociological Theory, 22(4), 527–573. https://doi.org/10.1111/j.0735-2751.2004.00233.x Altshuler, B. (2005). Collecting the New: A Historical Introduction (B. Altshuler, Ed.; STU-Student edition). Princeton University Press. http://www.jstor.org/stable/j.ctt4cgcjx Arnold, M. J., & Reynolds, K. E. (2003). Hedonic shopping motivations. Journal of Retailing, 79(2), 77–95. https://doi.org/10.1016/S0022-4359(03)00007-1 Artworks. (n.d.). K11 MUSEA. Retrieved July 31, 2021, from https://www.k11musea.com/art-and-culture/artwork/ Babin, B. J., Darden, W. R., & Griffin, M. (1994). Work and/or Fun: Measuring Hedonic and Utilitarian Shopping Value. Journal of Consumer Research, 20(4), 644–656. https://doi.org/10.1086/209376 Baker, J., Grewal, D., & Parasuraman, A. (1994). The Influence of Store Environment on Quality Inferences and Store Image. Journal of the Academy of Marketing Science, 22(4), 328–339. https://doi.org/10.1177/0092070394224002 Baker, J., Parasuraman, A., Grewal, D., & Voss, G. B. (2002). The influence of multiple store environment cues on perceived merchandise value and patronage intentions. Journal of Marketing, 66(2). https://web-b-ebscohostcom.ezproxy.lib.ouhk.edu.hk/ehost/detail/detail?vid=0&sid=8e2ed7bf-1344-443a-99da-d4872c1e81a4%40sessionmgr102&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=6548644&db=buh Barthes, R. (1977). Image, music, text. Fontana. http://sites.tufts.edu/english292b/files/2012/01/Barthes-The-Death-of-the-Author.pdf Baudrillard, J. (1994). Simulacra and Simulation. University of Michigan Press. https://books.google.com.hk/books?hl=zhTW&lr=&id=9Z9biHaoLZIC&oi=fnd&pg=PA1&dq=Simulacra+and+Simulations&ots=3ORaf_cuoZ&sig=TJxEjWsaLb7WvU_hdAfXoyVc1gw&redir_esc=y#v=onepage&q=Simulacra%20and%20Simulations&f=false Bitner, M. J. (1992). Servicescapes: The impact of physical surroundings on customers and employees. Journal of Marketing, 56(2), 57.

Bloch, P. H., Ridgway, N. M., & Dawson, S. A. (1994). The shopping mall as consumer habitat. Journal of Retailing, 70(1), 23–42.

Boud, D., Keogh, R., & Walker, D. (1985). Reflection, turning experience into learning. Kogan Page.

Bourdieu, P. (1984). Distinction: A Social Critique of the Judgment of Taste. Harvard University Press. https://books.google.com.hk/books?hl=zhTW&lr=&id=nVaS6gS9Jz4C&oi=fnd&pg=PR11&dq=Distinction:+A+Social+Critique+of+the+Judgment+of+Taste&ots=74nUqiXLlS&sig=1PHCiv08Ll0pFdxzVWMzmf_d3Y&redir_esc=y#v=onepage&q=Distinction%3A%20A%20Social%20Critique%20of%20the%20Judgment%20of%20Taste&f=false Bourdieu, P. (1993). The Field of Cultural Production: Essays on Art and Literature. Columbia University Press. http://franklinevans.com/cooper/1993_bourdieu_fieldofculturalproduction.pdf Burcaw, G. E. (1997). Bowuguan zheyixing [Introduction to Museum Work]. Wuguan yishu. http://www.books.com.tw/products/0010142066 Chen, M. (2019). Goujian renqi shenhua-cong guanzhong shijiao kan taite xiandai meishuguan xiyinli suzao de sanbuqu [Building the Myth of popularity—A trilogy on the shaping of Tate Modern’s appeal from the viewer’s perspective]. Meishu guancha, 09, 89–95.

Cheung, S. (2015). Taking part: Participatory art and the emerging civil society in Hong Kong. World Art, 5(1), 143–166. https://doi.org/10.1080/21500894.2015.1016584 Dawson, S., Bloch, P. H., & Ridgway, N. M. (1990). Shopping motives, emotional states, and retail outcomes. The Environments of Retailing, 65–81.

Ding Y. (2020, August 9). Xiegei 2097nian de yishu gongzuozhe-yishu pinglun yu zhanlan ruhe fajue “bentu” de neihan [To 2097 Artists: How to Explore the Meaning of “local” in Art Criticism and Exhibition] [Weipi]. Weipi. https://paratext.hk/?p=2814 Eagly, A. H. (2013). Sex Differences in Social Behavior: A Social-role interpretation. Psychology Press.

Falk, J. H. (2016). Identity and the Museum Visitor Experience. Routledge. https://books.google.com.hk/books?hl=zhTW&lr=&id=bcVmDAAAQBAJ&oi=fnd&pg=PP1&dq=Identity+and+the+Museum+Visitor+Experience&ots=4_oQg5eeeZ&sig=OwtGXnLNQJoq_b_WoxQtSUdnk10&redir_esc=y#v=onepage&q=Identity%20and%20the%20Museum%20Visitor%20Experience&f=false Falk, J. H., & Dierking, L. D. (2000). Learning from Museums: Visitor experience and the Making of Meaning. Alta Mira Press.

Fischer, E., & Arnold, S. J. (1990). More Than a Labor of Love: Gender Roles and Christmas Gift Shopping. Oxford University Press, 17(3), 333–345.

Forsey, J. (2017). Aesthetic Experience, Aesthetic Value. Estetika: The European Journal of Aesthetics, 54(2), 175–188. https://doi.org/10.33134/eeja.162 Graburn, N. H. H. (2012). Tourism: The Sacred Journey. In Hosts and Guests: The Anthropology of Tourism (p. 352). University of Pennsylvania Press, Inc. https://www-jstor-org.ezproxy.lib.ouhk.edu.hk/stable/j.ctt3fhc8w Griswold, W. (1986). Renaissance Revivals: City Comedy and Revenge Tragedy in the London Theater. Cambridge University Press. https://books.google.com.hk/books?hl=zhTW&lr=&id=jUGTyo_KIDQC&oi=fnd&pg=PP21&dq=Renaissance+Revivals:+City+Comedy+and+Revenge+Tragedy+in+the+London+Theatre+1576%E2%80%931980&ots=_vlmFF9oQv&sig=2mLzG4plO4FyhGo2kLU2CIzmzc&redir_esc=y#v=onepage&q=Renaissance%20Revivals%3A%20City%20Comedy%20and%20Revenge%20Tragedy%20in%20the%20London%20Theatre%201576%E2%80%931980&f=false Griswold, W. (2013). Cultures and Societies in a Changing World (4th ed.). https://doi.org/10.4135/9781452240534 Grosman, L. (2018, February 22). What The Amazon Effect Means For Retailers. Forbes. https://www.forbes.com/sites/forbescommunicationscouncil/2018/02/22/what-the-amazon-effect-means-for-retailers/ Gurău, C. (2012). A life-stage analysis of consumer loyalty profile: Comparing Generation X and Millennial consumers. Journal of Consumer Marketing, 29(2), 103–113. https://doi.org/10.1108/07363761211206357 Gurian, E. H. (2006). Civilizing the Museum: The Collected Writings of Elaine Heumann Gurian. Routledge.

Happenings. (n.d.). K11 MUSEA. Retrieved July 31, 2021, from https://www.k11musea.com/happenings/ Hirschman, E. C. (1983). Aesthetics, Ideologies and the Limits of the Marketing Concept. Journal of Marketing, 47(3), 45. https://doi.org/10.1177/002224298304700306 Hood, M. G. (1983). Staying away: Why people choose not to visit museums. Museum News, 61(4), 50–57.

Inglehart, R. (1981). Post-Materialism in an Environment of Insecurity. The American Political Science Review, 75(4), 880–900. https://doi.org/10.2307/1962290 Jameson, F. (1991). Postmodernism, Or, The Cultural Logic of Late Capitalism. Duke University Press. https://books.google.com.hk/books?hl=zhTW&lr=&id=oRJ9fh9BK8wC&oi=fnd&pg=PR9&dq=Postmodernism,+or+the+Cultural+Logic+of+Late+Capitalism&ots=mABXtnjhVt&sig=3SBnHfYD4iglootVq5jZ2VkYv_I&redir_esc=y#v=onepage&q=Postmodernism%2C%20or%20the%20Cultural%20Logic%20of%20Late%20Capit alism&f=false K11 MUSEA photos and videos on Instagram. (n.d.). Instagram. Retrieved August 4, 2021, from https://www.instagram.com/k11musea/ K11 MUSEA’s artworks. (n.d.). K11 MUSEA. Retrieved April 22, 2021, from https://www.k11musea.com/art-and-culture/artwork/

34

34

Reference Kaufmann, H. R., & Panni, M. F. A. K. (2020). Handbook of Research on Contemporary Consumerism. In Https://services-igi-global-com.ezproxy.lib.ouhk.edu.hk/resolvedoi/resolve.aspx?doi=10.4018/978-1-5225-8270-0. IGI Global. http://www.igi.global.com/gateway/book/216521 Leung, S. K. Y. (2020). Teachers’ belief-and-practice gap in implementing early visual arts curriculum in Hong Kong. Journal of Curriculum Studies, 52(6), 857–869. https://doi.org/10.1080/00220272.2020.1795271 Li, L. (2016). Zaikan shidai chayi he xianggang qingnianren de houwuzhi zhuyi [Look at generational differences and the post-materialism of young People in Hong Kong]. In Xianggang shehui wenhua xilie. http://jcmotion.com.cuhk.edu.hk Lin, Y. (2013). Taibei shili meishuguan guanzhong canguan dongji yanjiu [A study on visitor motivation of Taipei Fine Arts Museum]. Bowuguan Yu Wenhua, 6, 167–189.

Liu, L. (2015, January 4). Zhongguo dangdai yishu weihe rang dazhong kanbudong? [Why is Chinese contemporary art so difficult for the public to understand?]. Tengxun Wenhua. https://cul.qq.com/a/20150104/003539.htm Locker, P. (2010). Exhibition Design. AVA Publishing. https://ebookcentral-proquest-com.ezproxy.lib.ouhk.edu.hk/lib/ouhk-ebooks/reader.action?docID=4654131 Loseke, D. R. (2003). Thinking about Social Problems: An Introduction to Constructionist Perspectives (2nd Edition). Routledge.

M+ Building. (n.d.). West Kowloon Cultural District. Retrieved July 30, 2021, from https://www.westkowloon.hk/en/the-district/architecture-facilities/m-4 Martin, C. A., & Turley, L. W. (2004). Malls and consumption motivation: An exploratory examination of older Generation Y consumers. International Journal of Retail & Distribution Management, 32(10), 464–475. https://doi.org/10.1108/09590550410558608 McAndrew, C. (n.d.). The Art Market 2021. Art Basel and UBS. McManus, P. M. (1991). Making sense of exhibits. In Museums languages: Objects and texts (pp. 33–46).

Michon, R., Chebat, J.-C., Yu, H., & Lemarié, L. (2015). Fashion orientation, shopping mall environment, and patronage intentions: A study of female fashion shoppers. Journal of Fashion Marketing and Management, 19(1), 3–21. https://doi.org/10.1108/JFMM-09-2012-0055 Pandian xianggang wuda tese nihongdeng jiejing: Yingguo sheyingshi Keith Macgregor xiang jingdian chengshi zhijing! [Here are five of Hong Kong’s signature neon street scenes: British photographer Keith Macgregor pays tribute to the iconic city!]. (2020, September 16).

ShoppingDesign. https://www.shoppingdesign.com.tw/post/view/5850 Patel, V. V. (2009). Consumers’ motivations to shop in shopping malls: A study of Indian shoppers (pp. 285–290). Association for Consumer Research (U.S.). https://www.researchgate.net/publication/303231161_Consumers'_motivations_to_shop_in_shopping_malls_A_study_of_Indian_shoppers ROSENTIEL, T. (2010). Portrait of the Millennials. https://www.pewresearch.org/2010/03/11/portrait-of-the-millennials/ Salle, D. (2016). How to See: Looking, Talking, and Thinking about Art. W. W. Norton & Company.

Saussure, F. de. (2011). Course in General Linguistics. Columbia University Press. https://books.google.com.hk/books?id=ffzWX9LeeykC&printsec=frontcover&hl=zh-TW#v=onepage&q=signifier&f=false Serpe, R., & Stryker, S. (2011). The Symbolic Interactionist Perspective and Identity Theory (pp. 225–248). https://doi.org/10.1007/978-1-4419-7988-9_10 Shnayerson, M. (2019). Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art. Hachette UK. Slater, A. (2007). Escaping to the gallery: Understanding the motivations of visitors to galleries. 12(2), 149–162. https://doi.org/10.1002/nvsm.282 STECKER, R. (2012). Artistic Value Defended. The Journal of Aesthetics and Art Criticism, 70(4), 355–362.

Sun Q. (2009). Yishu wenhua de tuiguang yu chuangxin [Promotion and innovation of art and culture]. Dongwu daxue renwen shehui xueyuan diershiliujie xiji xueshu yantaohui, 18. http://www.scu.edu.tw/artsoc/109celebrations/13-3-3.pdf SurveyMonkey. (n.d.). SurveyMonkey. Retrieved July 31, 2021, from https://zh.surveymonkey.com/ Szekely, I. (2008). Art at the mall: A look at the aesthetics of popular mall art culture. International Journal of Art & Design Education, 27(2), 192–201. https://doi.org/10.1111/j.1476-8070.2008.00574.x Tauber, E. M. (1972). Why Do People Shop. Journal of Marketing, 36(4), 46–49.

The future of shopping centers. (n.d.). Kearney. Retrieved April 21, 2021, from https://www.kearney.com/consumer-retail/article?/a/the-future-of-shopping-centers-article Tichonova, A. (2019, September 6). How malls collaborate with museums. marketmedia. https://marketmedia.ru/media-content/how-malls-collaborate-with-museums/ Velthuis, O. (2003). Symbolic meanings of prices: Constructing the value of contemporary art in Amsterdam and New York galleries. Theory and Society, 32(2), 181–215. https://doi.org/10.1023/A:1023995520369 Vukadin, A., Wongkitrungrueng, A., & Assarut, N. (2018). When art meets mall: Impact on shopper responses. Journal of Product & Brand Management, 27(3), 277–293. https://doi.org/10.1108/JPBM-01-2017-1406 Ways of Looking. (2002). Tate. https://www.tate.org.uk/file/ways-looking Xianggang chanye jiegou [Industrial Structure of Hong Kong]. (2021, February 19). Tongshi Xiandai Zhongguo. https://ls.chiculture.org.hk/tc/reform-info/614

35

35