Beruflich Dokumente
Kultur Dokumente
A Collaborative Work:
By:
Cuaresma, Catlin
Imbuido, La O.
Ponsones, Marianne C.
CHAPTER I
Introduction
Creation of art in the society marks the quality and state of being human in people through
the different ways of delivery of emotions, controversial statements, and opinions on certain events
that happen around the world. Most of the art that the society consumes ever since the beginning
of art’s emergence are seen, which are categorized under visual arts and works classified under
visual arts are not restricted to painting and sculpting; some of the common forms of it include
film, performance art, design, architecture and crafts, et cetera. The researchers, as art students and
aspiring artists, are using their creativity and skills to make visual arts their profession in the future.
Like other art students, they hone their skills in art to make marketable works, with a slight
uncertainty to it being profitable enough to make a living out of it. Though art is defined by
expression, creativity, and subjectivity, it is a part of every artists’ struggle to fit into what will the
society and the art industry will accept as they search for excellency and significant worth in every
artwork. Every company or business that competes to gain response from people uses visual
communication through media and it usually requires artists to produce the right visuals that are
appropriate for their vision and concept and what they are trying to convey to the demographic of
their current or future clients and not all artists are what these companies are looking for. Each
artist has their own style, and they are aware of it not being for every viewer who sees it, especially
when it is someone who does not usually entertain themselves with arts, or someone who simply
do not have a huge interest in art. Thus, the diversity of visual artists in their styles and their field,
depending on the medium they use and where they offer their service will affect the value of their
comprehensive critiques on it, but it can be put on a different perspective once a non-artist looked
at the artwork. Everyone consumes art without even knowing, yet there are things that occur
around art students’ surroundings that make them feel anxious about the career they want to pursue.
People who do not regularly view art or make art as a form of their escape, entertainment, or living
may have overlooked some artworks, because there are works are different to the form of art that
they were accustomed to or are conditioned to think that there is a limit to what is conventionally
called art. Furthermore, that unfamiliarity might also lead them to think that there are artworks that
may cost low than others and believe the stereotypes about people working in the creative field.
There are non-artists who admire art and consume them with less means to bid to an auction or
pay for a known artwork tries to find artworks that are affordable to them. Hence, there are artists
who have experienced being asked to make art for free or for much less than the value than they
initially planned it to be, as other people see art as an easy thing to make. In the Philippines, art
students like the researchers conducting this study feel stigmatized due to the Filipino society’s
apparent prioritization and appreciation towards the STEM (Science, Technology, Engineering
and Math) industry and hackneyed ideas about the arts and the people working in its industry are
still perpetuated, therefore making art students feel disappointed when they are not supported by
their families on the career they wish to pursue in the future. This has also led other young artists
to divert their attention to the likes of what is more likely to be prioritized and work in those
On the other hand, there are still non-artists who properly appreciate arts in the way artists
want the society to do. The received idea of artworks being expensive can come from the people
from the upper class of the society who are purchasing or bidding for expensive artworks, and
some do it for their deep love for art or as a way of investment. There are people who are not as
knowledgeable on art as artists do, yet they possibly have the privilege to buy such expensive art.
There are also non-artists who have artist friends whom they support through buying some of their
artworks and credits them as much as possible when they try to share the piece of artwork. They
are now making small steps to prioritize art; but for art students, the society still has a long way to
realize the importance of arts together with the other industries and the fundamentality of its
Art is the representation of one’s thoughts, feelings, and their views on the world. With
words not being enough, we look for other mediums to fulfill our need to express and
communicate. “-its only function is to be experienced, appraised, and understood (or not).”
(Leonardi, n.d.) It is also always associated with the word beauty which is what makes it so
subjective. Beauty can mean anything that is pleasant to the eye, but it is not. It is more personal
than that. A lot of things can be pretty but does not reach the standard to be called “beautiful”.
That is because it is the measure of how much the art affects you emotionally. In the arts beauty is
the success of the communication between the artist and the viewer (Nieters, n.d.). But it is
uncertain that what the artist is trying to say always gets to its viewers which makes its subjectivity
endless. There is no consensus in art. For years the foremost definition of art has been an argument.
As time progresses, what you can call art becomes questionable. Various artists have their own
distinct way of defining it, but they all agree that it evolved into something more intellectual.
“Suppose it is a work of art? Then certain questions come into play -- what's it about, what does it
mean, why was it made, when was it made and with respect to what social and artistic
conversations does it make a contribution? If you get good answers to those questions, it's art.
A question that can be asked is how artists think differently from non-artists. Although it
is undetermined if one is born an artist, other researchers have conducted experiments and agreed
to this. Scientist’s studies have found that an artist’s brain is structurally different, their brain scans
show that in areas relating to fine motor movements and visual imagery, they had increased neural
matter (Hogenboom, 2014). Despite agreeing that practice is still crucial, this promotes that an
artist’s talent could be innate. Other studies focused on the contrast between how artists and non-
artists see their surroundings. According to an article by Rujuta Pradhan in 2015, they showed an
artist and a non-artist a picture. They used an eye tracker to see how different they would view it.
It showed that the non-artist focused more on the objects, spending 40 percent of the time looking
at them. While the artist focused entirely on the picture; where the things were positioned, contours
and the shadows, spending only 20 percent of the time looking at the objects. When they were
asked to remember the picture, the artist’s scan patterns would be quite similar with the non-
artist’s, but still managed to state more details. Our eyes do not actually see the objects in front of
us, we see light bouncing off of it and shadows that make us determine what it is. According to
Rujuta, artists master this idea whether by intuition or by practice. When asked to draw an object,
non-artists would draw it how they see it in their head. For example, a boat, they would draw it 2
dimensionally with simple lines. But when you ask an artist to draw one, they would take time
focusing on the whole visual field with the subject, resulting to a more realistic image.
Art is not merely a form of entertainment; it is a way of life for artists. And their income is
always a question with it being intensely subjective. Art is not something you can eat, wear, drive
or something people can live in – it is pretty much useless, which is what makes it hard for people
to buy it. But why is some art so expensive? Wealthy people participate in this kind of business.
They collect artworks, expensive ones, and call it a hobby. Using it as their way of boasting their
taste and wealth, they see it as a form of competition with their peers. This is also practiced in the
Philippines. Recently, they have been experiencing quite a success in the art industry. With the
increasing number of events and art galleries, younger artists are able to find a market to sell their
works. Not only that, younger collectors are hungry for art. What fuels their lust is the shortage of
it, which according to them, makes it more fun. “They like the hunt. And they like showing off.
Collecting art is one way of measuring who has the bigger dick, because art is hard to get, even if
you have the money.” (Cometa, 2016 - Inquirer) But this is just a small portion of the art industry.
Most of the artists in the Philippines are not rich and may never have the chance to be. Apart from
the cluster of well moneyed Filipinos, the value of art is heavily looked down on in the country.
One specific reason of this is the mindset that being a doctor, or an engineer is the measurement
of being successful. It has become part of the culture that artists are automatically going to fail in
Filipinos are known for being practical when it comes to money. Although artists cannot
blame them for being unwilling to pay for something they do not know how would benefit them,
it should be a responsibility to let them know that the work of an artist is just as relevant as
everyone else’s. “Everyone has a role, and not all roles directly solve the world’s problems.”, Len
Cristobal mentioned in his article in 2018, “Artists help us with introspection; the way we see, feel,
and understand things because this world has a way of hardening our hearts and confounding our
brains.” Artists are rarely seen even though art is everywhere, the stigma plays a crucial part in
their career. Artists go through schools and workshops, spending most of their days practicing and
studying to improve their craft. Art is not just a recreational activity for artists, it is work.
Art students experience higher unemployment rate compared to the courses that is not
related to art (Jones, 2015). In this study we aim to know why artist experience career shift and if
there is a significant difference in non-artists such as non-arts and design students and how they
value art. Furthermore, the researchers aim to know why and how these situations happen.
In this research paper, we intend to fulfill the answers to the following questions:
2) How much would non-artists value/pay for these certain forms of visual arts?
3) How does the interaction between non-artists and artists affect artists?
Artists consider non-artists as one of their clients and the main viewers of their creations. The
main purpose of this study is to examine the correlation of their feedback and insights to the
ongoing movement of visual arts, to determine what kind of feedbacks make a significant effect
to certain form of visual arts, how their perspective and liking can have a huge impact into the art
world and local artists. In this study, the researchers also tackles on how exactly a non-artist views
and opinions about art can affect local artist’s business, income and relevancy into the public and
about how their opinions can affect the integrity and value of art, and lastly the purpose of this
study is to see the positive and negative relationship of non-artists with visual arts and artists
themselves.
The society. It gives the society a much wider perspective from both sides of the non-
artists and the artists and this study might help them realize how much art industries and art in
general contribute to the society and each one of the people who belong in it are seen or reflected
Artists. This study aims to help artists in their careers. Artists who work for the creative
image of multiple companies may appreciate the insights of the people who are not as
knowledgeable as them in arts. People will be aware about the less known ideas about being
artists and the struggles that come with it. In addition, this may help artists to be encouraged
from what the non-artists may give as remarks to what they are doing. Artists will not be limited
for bringing out their designs because they don’t need to do an artwork base on the crowd
Non-artists. This study will provide information and awareness on the art appreciation and
the struggle that goes through the process of making artworks. This can be a help for them to
expand their knowledge on different forms of visual that they might have overlooked when they
are also consumers of these works through different media, and this can be an encouragement for
Students. This will help the students to be conscious of the importance of art and how it
contributes to the society and its function; the ides from this study may give them the opportunity
to change the misconception and the conventional cognizance of the society to visual arts.
Future Researchers. This study can be used by future researchers as a reference for further
studies.
This study focuses on how non-artists view art. In this study, the researchers will
conduct a survey for Grade 12 students in Philippine Women’s University-Jose Abad Santos
Memorial School -Manila, school year 2019-2020 who will represent as population. The survey
will be given to different tracks of senior high such as HUMSS, STEM, ABM and TVL. The other
students which do not fall as part of Grade 12 students from Academic and TVL tracks are not
within the scope of this research. The study would be done through the utilization of questionnaire
to the students as survey and reference. Questionnaires contain pictures of different artworks and
art style. By answering the questionnaire, the researchers will be able to know on how the non-
artist view art and how much would they pay for a specific artwork to Grade 12 students who
Visual Art is a complex stimulus (Hagtvedt and Patrick, 2008), art can affect the human
mind by feeling a particular emotion while looking or doing an artwork, art are created to
stimulate us through a visual experience (Esaak, 2019) as a viewer art is meant to make you feel
a thousand emotions by looking at an artist’s artwork either it could be the feeling of fascination
or nostalgia, the beauty of art is it speaks for itself without saying a single word. Moreover,
Dalisay (2018) said that art has made tremendous contributions to the economy and the world.
According to a test that was held by university students who are not very familiar with art find
that using two mediums such as drawing and collage are somehow therapeutic; and they felt like
that the possibilities are limitless (Rafaelli, Hartzell, 2016). Different people have different
views of art, Many people have even given their own opinion on how they view about art, some
did not like art, some said art is a way to see the world and some did not even pay attention and
think it is irrelevant (Ichoku, 2019), (Montebello in Wallach’s article, 1997) art matters less to
our lives that it did in the past, now the people only praise the name of the artist instead of
praising the art itself, (Rosenblum in Wallach’s article, 1997) somebody has to be the first to
give praise, but if that is not given then there is nothing there. Without people to make and
Value of art
Visual arts have been a commodity in the society since the beginning of humanity while
its sole function is mainly based on aesthetics and the emotion it evokes. To art world outsiders,
the distinctions in price can be confusing. Because there are some artworks that are expensive and
other is not. Talking in the most essential economic terms popularity and a shortage of supply
creates high prices for artworks. In this study we will see on how other people see the value of art
in the society. Craftsmanship is intrinsically remarkable on the grounds that there is a limited
supply on the market available at some random time. This chapter presents brief review of
literature and studies, both local and foreign that is related to these studies.
(Neuendorf, 2016) asked on why there’s an artwork sell worth $10,000 and another for
$10 million—or even $100 million? He is confused on where do we based the pricing. According
to Augusto Arbizo, price is determined by “an artist’s exhibition history, sales history (if any),
career level, and size of artwork.” He added that “sometimes, production costs are factored in as a
cost that needs to be recouped.” A show at a significant exhibition hall, for example, New York's
MoMA can affect a work of art's worth. At that point, there are progressively mind-boggling
components to consider. Is the artist “attractive”? What is the artist's essentialness with regards to
art history Is the artwork representative of the artist’s style? According to Neuendorf, to determine
the value of an art is dependent to the artist style and status whether she/he is well known to the
“Every period in art history, you’ve got the people who write the vocabulary,” (Jones,
2015) “and then you have lots of people who learn the vocabulary and use it quite intelligently.
There are lots of Fauvists apart from Matisse and Derain, but you remember the people who
actually establish the rules.” The artist’s importance and standing in art history is an important
influencing factor. In the present market, individuals are keen on what's happening and hot, artists
who will be the next big thing, or built up, perceived, brand-name specialists. Correspondingly, an
Jones, the value of an artwork totally depends on the artist. The artist who made the foundation
style in the art industry usually gets paid hundred times for their artwork. Joerg and Jesse (2018)
states that people propose that the value of art is registered by the emotion of wonder. Departing
from some standard approaches in empirical aesthetics, we focus on the appreciation of art as art
rather than mere aesthetic preference. They conclude that people have different taste on how they
value a certain artwork and that greatly influence the pricing. While on (Nigel, 2013) The value of
the arts is often measured in terms of human creativity against instrumental rationality. For him
the value of art is just based on the end beauty of the product itself whether it is pleasing in the
eyes or not.
In the general economy, art and finance can be close relatives. (Cardoso, 2015) According to
her, the rationale of the art market is fundamentally the same as the one of the financial world
money: when workmanship is created by people and establishments subject to our financial
condition, they likewise become subject to the requirements of the material world. She also added
that art, finance and status always go together because you cannot be well known enough by talents
The broad definition of finance is “the monetary resources and affairs of a state,
organization, or person”. (Cardoso, 2015) Since the beginning artists have been bolstered by
people, states or associations with fiscal assets. They would be approached to depict notable
individuals so as to "immortalize" them, leaving a heritage. The artist itself would profit by this,
aside from the payment. Nowadays, artist are "free" to make their own art and their "signature is
everything". The "status" is a relative situation towards a person or thing, an insignificant length
of presence; for this situation the artists can profit by significant collectors who are additionally
anticipating be the known as the glad proprietor of such artwork. Status and acknowledgment are
Art is a unique feature of human experience. (Leder, 2012) They conducted a research
about the related difference between the aesthetic appreciation of classical, abstract, and modern
artworks. They measured liking, elicited emotions, arousal, and comprehension, and compared
structural equation solutions for 2 groups of students with higher and lower levels of art expertise.
They infer that it all depends on the person on how they see art because everyone has a different
taste and different art style they were exposed to. Based to their research experts and nonexperts
revealed strong effects of emotions in all condition. Thus, when it comes to an artwork's value
everybody has a different say because according to Leder, we are all emotional being and we are
all differently drawn to a specific style, era or artist that we can connect emotionally. (Leder,2012)
These results reflect experts' greater flexibility and differentiation in art appreciation.
They give us something to admire, and they allow us to feel something meaningful. (Gonzalez,
2017) The same with Leder's point on his research Gonzalez concluded that the value of an artwork
depends to every individual and commonly it's based on how they relate to one's artwork
Artistic value is standalone value embedded in the artwork and includes its quality and
significance. (EY, 2017) It’s the general beauty of an artwork and it agrees to the idea of Gonzalez
and Leder that it all depends to the person's preferred style and whether he relates to it emotionally
and by understanding.
Art Market
The discipline of arts marketing has been flourishing since the 1970s. (Boorsma 2006;
An example of the flourishing art market is shown by Karabell (2018) as the total spending
on arts sponsorship in North America did cost $993 million in 2017 and is expected to grow and
increase 3.7% into 1.3 billion in 2018. According to Lee (2005), the position of marketing in the
arts has been established by creating and disseminating knowledge through higher education
programmes, academic and practitioner conferences and manuals of marketing practice supported
by government funds since the 1990s. Arts marketing was concerned with “marketing as a set of
techniques” in its commencing. Kotler (1980) said in the beginning of Marketing the Arts that
marketing became “the critical mechanism for building, enduring and satisfying the
relationships between arts organizations and its target audience”, indicating the problem of
transferring marketing concepts to the arts sector. The problem lies in the differences between
commercial goods and artistic outcomes. Arts marketing does not start from the needs of the
market, but is initiated right after the produced outcomes from artists. Several local artists whose
art became famous in merchandise didn’t do it for marketing rather did it because it best fits the
viewers’ perspective. In this sense, Mokwa, Nakamoto, and Enis (1980) argue that marketing does
not tell an artist how to create a work of art; rather, the role of marketing is to match the artists’
creations and interpretations with an appropriate audience”. Bradshaw (2010) separates the domain
of the arts from the concept of marketing, for it “arguably smuggles a primitive conceptualization
of art and marketing as diametrically opposed”. Thus, Bradshaw emphasizes the implications of
interaction between marketing and the arts. Hagtvedt and Patrick (2008) indicated the influence of
visual art on marketing in their empirical study. They pointed out that art creates connotations of
luxury and prestige and facilitates cognitive flexibility, positively affecting customers’ evaluation
of brand extension. Through similar experiments, they reveal that the presence of visual art has a
Visual arts can be seen anywhere and they circulate through different platforms, whether said
platforms are traditional or digital. Through these platforms, artworks and masterpieces by artists
are given importance and value through its coexistence with marketing. The art/creative industry
is not only limited to what is classically known to be art, as it also has to be integrated with
commercial work as the creative industries are productive in generating new ideas in different
design, education, and art (van Oort, Marlet, and Rutten, 2013). In the merchandise of fine arts,
the name of the artists is one of the aspects that give value to a piece of an artwork. People who –
are regular enthusiasts and consumers of art take the integrity of the art and the values of the artists
who create art ardently. According to a study, it is important for patrons to know that artworks
pass their authenticity and their respectful credit to any inspiration that they have, including the
artist’s reputation whether the artist and their ideas are socially accepted (Marshall and Thatch,
2016). When these criteria are mixed together in order to sell in the postmodern society that the
consumers are in now, these things have led creatives into having struggles and/or challenges that
they experience within working in the art world and how much they get from it, less people can
get through the cutthroat industry of art. Based on du Toit (2015)’s article, the intermediate world
of artists is full of chaos and it lacks space for new artists as they are usually ignored when there
are people who are already taken seriously in the art world. They further state that the unknown
limitation towards art making what the kind of consumers that an artist will have based on the type
of art they will be making keeps the art world somewhat terrifying for them.
While there are people who still aspire to be artists in the future and though artworks can
cost hundreds and millions of dollars, working in the art industry is still a difficult world to have
a place in and earn from. A study shows the largest unemployment rate comes from the students
who graduated in arts-related courses with 12.9 to 11.8% compared to other courses like business,
engineering, and computer and information sciences (Cascone, 2014) and art-related courses such
as advertising, graphic design, fine arts, theater, and photography are listed as the worst college
majors in 2019 (Forbes, 2019). On the other hand, it is still unknown as to why these kinds of
labor and the appreciation of visual arts is still not enough for a lot of artists to make living of.
According to Cristobal (2018), one of the factors that can be affecting are the consumers who are
not quite knowledgeable of what is going on around the art industry or the process of making art
itself. They not aware of the value of art and how much art contributes to their daily lives, when
they pay for their services and still some of them might think that art is purely a hobby and a
recreational activity, hence making them conclude that any service that comes from a small-scale
artist can be free of charge when it is their work. The difficulties that every artist can experience
through the process of the creation of the artwork, the amount of thought that goes to every work
and negotiation with clients can have an effect on them and their creativity (Gerard, 2019), and
this phenomena oversees the future and the fear the creatives have for the future of art and the
possibility of it being homogenous and identical (Bawcombe, et. al., 2016). However, these can
be changed or prevented if there are more studies about what could possibly cater more to the
clients, especially for people who do not really engage themselves in art that much the researchers
aim to see their perspective about it and what can artists know about them and improve the
Definition of Terms
Aesthetic - a set of principles concerned with the nature and appreciation of beauty, especially in
art.
Commodity - a raw material or primary agricultural product that can be bought and sold, such as
copper or coffee.
Coexistence-the state or fact of living or existing at the same time or in the same place.
Craftsmanship-the quality of design and work shown in something made by hand; artistry.
Distinctions - the act of perceiving someone or something as being not the same and often
sex, or religion also : the difference distinguished the distinction between imply and infer.
Phenomenon-a fact or situation that is observed to exist or happen, especially one whose cause
or explanation is in question.
CONCEPTUAL FRAMEWORK
The conceptual framework is based on the procedure that will be executed in the
fulfillment of the study. The study includes these certain variables as key points in order to attain
METHODOLOGY
Introduction
This chapter presents the overall process in the gathering the data from respondents that
are selected. The chapter also contains the research design, research locale, the selection of the
Research Design
This study uses the mixed method design as the researchers aim to get the perspective of
non-artist students on visual arts through a measurable way of gathering data by distributing a
survey to the selected number of respondents. The study uses a descriptive approach to the process
of its methodology to observe, analyze and determine the correlation of the variables with each
other objectively using surveys and give a glimpse to the state of the current day's nature of what
causes such phenomena to happen [Koh, Owen (2000)]. The reasons for using descriptive method
to the study is not only to see the correlation of two variables (perception of non-artists and visual
The process for the methodology starts from the formulation of the questionnaire which
requires for validation and its distribution as survey once it has been approved, and the respondents
are selected as the Grade 12 students of Philippine Women’s University – Jose Abad Santos
Memorial School Manila that are enrolled to tracks or strands that are not under the Arts and
Design track, preferably with no background, knowledge, or expertise in making art as an interest,
hobby, or a job to gather an unbiased and controlled/measurable response to the questionnaire that
was given. The respondents are selected by using purposive sampling method as the researchers
chose a common background for each individual that will participate in the study; and Slovin’s
formula is used to calculate the sample/number of respondents from the population of Grade 12
Research Locale
Philippine Women’s University
The respondents for the survey that is utilized in this study are the Grade 12 students from
different strands/tracks except Arts and Design (STEM, ABM, HUMSS, and TVL) in Philippine
Women’s University – Jose Abad Santos Manila in Taft Avenue, Malate, Manila as the campus
have an adequate amount of students and range of diversity in the tracks/strands that they offer;
This study conducts a survey for the respondents wherein Likert scale is used to determine
what the respondents think/identifies the closest about the certain statements given in the
questionnaire by the scale of 1-5 where the choices start with 5 - strongly agree, 4- agree, 3-
The questionnaire is based on the liking, perspective, and opinions about topics related to
art, these questions provided for the respondents are 15 questions that answer the following
2) How much would non-artists value/pay for these certain forms of visual arts?
3) How does the interaction between non-artists and artists affect artists?
In the preparation of the instrument, the researchers have put simple questions to
accommodate the knowledge and preparedness for the respondents, un-challenging questions were
provided to the respondents to accommodate their time and schedule, and the instrument is
The technique of this methodology is as follows: the first step used was to ask permission to
conduct the survey using approved questions. The questionnaire was distributed to the chosen
Copies of the approved questionnaire were distributed in order to gather relevant data. The
The data to be used in this study will be gathered from the responses of the selected respondents
on the survey distributed to them. Then, obtained data are being analyzed statistically through
Research Subject
Abad Santos will be selected to participate in the process. Chosen students will be given a
questionnaire that will show on how the non-artist view visual arts.
The subjects and respondents of this study will be the Grade 12 students of Philippine
Women’s University Jose Abad Santos enrolled in Manila. A total of 110 respondents: 32
students from Galileo, 28 students from Edison, 27 students from Darwin and 23 students from
Franklin take the survey and answer the questions through the Likert scale where they check the
box under the rating that they identify with/relate to the most.
Population and Sample
Since the subject of this study are non-artists of the Grade 12 students in PWU-JASMS,
the researchers used the purposive method in sampling. There are five sections with a total of 168
students and from the computation of Slovin’s formula, 118 of them are the targeted respondents.
The researchers compute the sample population using Slovin‘s formula with 5% error or
Whereas:
e = Percentage Error
N = 168
e = 5% (0.05)
Computation:
n = 168 / (1+168(0.05)2
n = 168 / (1+168(0.0025)
n = 168 / 1 + 0.5225
n = 168 /1.5225
n = 118
Galileo 49 29.17% 34
Edison 42 25% 30
Darwin 41 24.40% 29
Franklin 36 21.43% 25
APPENDICES
QUESTIONNAIRE
Please rate how strongly you agree or disagree with each of the following statements by
putting a check under their corresponding numbers. (5 – strongly agree, 4- agree, 3- somewhat
disagree, 2-disagree, 1- strongly disagree)
STATEMENT 5 4 3 2 1
Strongly Agree Somewhat Disagree Strongly
Agree Disagree Disagree
1. I appreciate arts for their
aesthetic value.
2. I appreciate arts that make
people think.
3. I like art that are made by
famous people.
4. Arts do not make sense to me.
5. I don’t understand some of
the artworks that are made
today.
6. I often find entertainment in
visual arts through paintings
or artworks.
7. I often find entertainment in
visual arts through films,
videos, and photography.
8. I find entertainment in visual
are through performance art,
theater, etc.
9. When it comes to art styles, I
prefer realism or anything that
is considered “classic” or
“traditional”.
10. When it comes to art styles, I
like the ones that are unusual
or non-traditional.
11. I think that there are standards
that should be followed when
it comes to making art.
12. I think that arts are important
for a lot of people, but it is not
for me.
13. I think that arts are important
for people, including me.
14. I think that art is taken too
seriously.
15. Have you considered buying an artwork/paying for a creative work before? If not, are
you interested in buying/paying for one or more? ____ Yes ____ No
16. Is an artwork reasonable to pay for if it is not based on its size/aesthetic value/style and is
solely based on the artist’s pricing?
____ Yes ____ No
17. If you had the means to buy an artwork (that you really like/you have commissioned)
directly from the artist, how much would you pay for it?
__ below 1000PHP
__Above 5000php
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