1.INTRODUCTIONSatisfaction is a key concept within the marketing discipline and specifically within the area of consumer behaviour. Satisfaction in the arts is mostly derived from a combination of three elements: the subjective and experiential aspects of the cultural product, the quality of the venue and the quality of the associated peripheral services (Hume, 2008a). According to this author, studies on satisfaction with cultural events are key to understanding customer motives to repurchase subscription which can increase the arts organization's profitability, this being a main goal of the currently complex entertainment arena.This study focuses on satisfaction among visitors of an art exhibition, namely, on a cultural service experience. Research on satisfaction in this context has derived from marketing studies of arts and culture (Baumol and Bowen, 1966; Kotler and Levy, 1969, Levy and Czepiel, 1975; Kirpalani, 1975; Nielsen and McQueen, 1975; Mokwa, Dawson and Prieve, 1980; Evrard and Colbert, 2000). In this context, Colbert (1993) underlines the independence of the cultural product from the remaining variables of the marketing mix. In other words, the cultural product arises independently of the market needs and preferences. Once the work of art is created, marketing managers would look for the audience interested in such a product and then form the suitable price and make promotion and distribution decisions. Revisiting this model, Cuadrado and Molla (2000b) include the difference between core and peripheral product following Laczniak's (1980) proposal. The core product - a work of art, refers to a creation independent of consumers and aimed at preserving an author's artistic integrity. However, the augmented product must be defined together with the other variables of the marketing mix to make the cultural offer more attractive, competitive and adapted to the audience. The final aim is to have more satisfied audiences while allowing artists and arts organizations to reach their objectives.Within studies on satisfaction, the role of the formal and augmented product in the assesment of satisfaction with a cultural service has received scant attention. This study considers the importance of both the formal product, the artistic performance or activity itself, and the augmented product, i.e. the attributes connected with the artistic event, including amenities such as cloakroom facilities, parking facilities, etc. (Hume et al, 2006), which support the show (Moses, 2001), in the measurement of satisfaction for future managerial purposes. In other words, we measure the core and the peripheral product related to the consumer's satisfaction experience in the cultural service arena. In this regard, the work by Joy and Sherry (2003) examining different determinants of art appreciation in a museum through qualitative research supports our research. Moreover, previous research in this context has found that the core and peripheral services have different impacts on service management effectiveness (Ferguson et al., 1999). Customers make their repurchase decisions based on the perceived quality of both core and peripheral services, mediated by perceived value and customer satisfaction (Hume, 2008 b). Further research has shown that only the quality of peripheral services has a direct impact on customer's intention to return (Hume and Sullivan, 2010).The present work includes a review of the relevant literature on satisfaction essential for the rigour of the empirical research. After a presentation of the study event, there is a description of the quantitative research carried out through personal survey and aimed at analysing visitors' assessments of the exhibition itself and the exhibition peripherals. Finally, the paper closes with a discussion on research findings and its implications.2.MEASURING SATISFACTION IN ARTS AND CULTURECustomer satisfaction is mostly defined by means of comparing a product's perceived performance in relation to pre-consumption expectations. …
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