"The consumption act—that of enjoying the painting—is similar in both modes. The consumption modes—that of either purchasing or viewing art exhibits—provide two different circumstances of consumption: one is through a private, permanent ownership-linked approach; the other is through a public, temporal, and circumstantial approach," Chen explains.

The author found that art collectors and visitors to galleries and museums share many desires and values, including otherness, sociality, philanthropy, spirituality, aesthetics, and novelty. How collectors differ from visitors is in their desire for a long-term intimate relationship with the artworks. Visitors want to avoid repetition and dullness, and like the experience of sharing art communally.

Chen also found that the experiences of both art purchasers and art viewers do not always correspond with their expectations. "This contradiction implies that desire and illusions, more than value and perceptions, are the driving forces behind consumption," writes Chen.

In the study, the author conducted in-depth interviews with 116 people in Paris and Geneva. Collectors were people who accumulated pieces of contemporary artwork without reselling. Visitors were people who visit art exhibits but never purchase artwork. The author visited art collections and asked questions about what drove collectors to purchase the works.

"The present research challenges the presupposition that possession is the ultimate expression of consumer desire…Access could also provide value of the extended self through the immaterial memories that enrich human sense and life experiences," writes Chen.

Note: If no author is given, the source is cited instead.

• Consumer Behavior
• Spirituality
• Alcoholism

• Popular Culture
• Consumerism
• Social Issues

• Memory
• Self-awareness
• Carl Jung
• Negotiation
• Self-concept
• Collaboration