Brian K. Miller, Kay McGlashan Nicols and Jack Eure
The prevalence of body art is on the rise; particularly among college age persons. This study aims to use group norms theory (GNT) and the justification‐suppression model of the…
Abstract
Purpose
The prevalence of body art is on the rise; particularly among college age persons. This study aims to use group norms theory (GNT) and the justification‐suppression model of the expression of prejudice to examine the impact of body art such as tattoos and piercings on ratings of acceptability by co‐workers.
Design/methodology/approach
In a full‐factorial two‐by‐two scenario‐based experiment the authors manipulated the presence or absence of face‐to‐face customer contact and the interdependency of the distribution of rewards.
Findings
After controlling for participants' own tattoos and piercings, impression management, openness‐to‐experience, and agreeableness, the authors have found that an inside sales job and independent rewards are significantly positively related to acceptability but that their interaction was not.
Research limitations/implications
The limitations of this study include the fact that it is a scenario‐based experiment using a fictitious co‐worker and that the sample is comprised of college students. However, manipulating body art in a live confederate would likely to have been impossible and college students are in the age group in which body art is most prevalent, making them logical candidates on which to examine the hypotheses.
Practical implications
Even those with body art themselves still prefer not to work with body art (non‐concealable) wearers in jobs with high levels of face‐to‐face customer contact or in jobs in which rewards are shared equally like team‐based sales.
Originality/value
An experimental design is used so as to manipulate only those characteristics of the work relationship hypothesized to be of interest, while controlling for extraneous variables like attractiveness and personality in the co‐worker, which vary greatly from person to person.
Details
Keywords
The development of public art in French New Towns in the 1970s and 1980s was one of the most spectacular forms of state intervention in urban policy. Along with the new…
Abstract
The development of public art in French New Towns in the 1970s and 1980s was one of the most spectacular forms of state intervention in urban policy. Along with the new architecture programmes, the hundreds of works of art that adorn the public realm of the French New Towns help to differentiate them from the grands ensembles. This public art, which was highly publicised at the time, represents a heritage intrinsically linked to the urban history of New Towns but also to the history of French cultural policies at the end of the twentieth century. Artistic and town planning innovations underlie many public art projects. Artists and town planners participated, on a city scale, in the cultural developments that sought to respond to the expectations of the May 1968 crisis. In New Towns, the role of art was not simply to provide a backdrop to beautify the city but also to contribute to the success of new urban neighbourhoods. This involved placing visual landmarks in the urban space, confronting the residents with living art (painted walls, sculpted staircases, light paths, etc.).
The appropriation of these works of art by the public and councils was far from unanimous. It was only at the beginning of the twenty-first century that a heritage reflection emerged and led to a list of works of art being drawn up, with a view to protecting them. With the disappearance of state supervision over certain New Towns (1998–2002), damaged works has become a stigma in the public realm. A policy of restoration is being therefore introduced in certain New Towns, with public art participating in the identity of councils that do not hesitate to present themselves as ‘contemporary towns’ and take on the restoration or achievement of certain works that they now consider to be their heritage.