Presidents’ Prize

2021: “Women artists,” Abby LeBlanc (Williams College, Williamstown, Massachusetts) and Stephen Sheppard (Williams College, Williamstown, Massachusetts)

2018:Artworks without names: an insight into the market for anonymous paintings,” Anne-Sophie Radermecker. Vol. 43, no. 3, September 2019

2016:Fairness constraints on profit-seeking: Evidence from the German club concert industry,” Hendrik Sonnabend (FernUniversitat, Hagen)

2014:Time spent on new songs: Word-of-mouth and price effects on teenager consumption,” Noemi Berlin (University of Edinburgh), Anna Bernard (University of Paris-I), & Guillaume Furst (University of Geneva)

2012:Effects of culture on firm risk-taking: A cross-country and cross-industry analysis,” Roxana Mihet (University of Oxford)

2010: “Clustering does not always benefit the artistic output: New evidence for classical composers,” Karol Jan Borowiecki (Trinity College, Dublin)

2008: Estimation of demand function for German public theatre: The importance of allocation of leisure time and quality factors for the consumption of performing arts,” Marta Zieba (Trinity College, Dublin)

2006:The sales effect of word of mouth: A model for creative goods and estimates for novels,” Jonathan Beck (Wissenschaftzentrum Berlin, Humboldt Universit

2004: Art for the masses? Justification for the public support of the arts in developing countries: Arts festivals in South Africa,” Jeanette Snowball (Rhodes University, South Africa)

2002: Expert Opinion and Gastronomy: The Recipe for Success Veronique Chossat (University of Rheims) & Olivier Gergaud (University of Rheims and University of Paris-I)

2000:The determinants of artistic innovation: Bringing in the role of organizations,” Xavier Castañer (University of Minnesota) & Lorenzo Campos (iSOCO, Spain)

Pommerehne Prize

2021: “Dining out as cultural trade,’ Joel Waldfogel (Carlson School of Management, University of Minnesota)

2018: Measuring changes in subjective well-being from engagement in the arts, culture and sport,” Daniel Wheatley (University of Birmingham) & Craig Bickerton (Nottingham Trent University)

2016:Prices for superstars can flatten out,” Luc Champarnaud. Vol. 38, no. 4, November

2016:Digital complements or substitutes? A quasi-field experiment from the Royal National Theatre,” Hasan Bakhshi & David Throsby. Vol. 38, no. 1, February 2014

2014: Selling less of more? The impact of digitization on record companies,” Marc Bourreau, Michel Gensollen, Francois Moreau, & Patrick Waelbroeck. Vol. 37, no. 3, August 2013

2012:The impact of the Droit de Suite in the UK: An empirical analysis,” Chanont Banternghansa & Kathryn Graddy. Vol. 35, no. 2, May 2011

2012:Product differentiation and film-programming choice: Do first-run movie theatres show the same films?,” Darlene C. Chisholm, Margaret S. McMillan, & George Norman. Vol. 34, no. 2, May 20122010

2010: Art versus commerce in the movie industry: A two-path model of motion picture success,” Morris Holbrook & Michela Addis. Vol. 32, no. 2, June 2008

2008:Distributors and film critics: Does it take two to tango?,” S. Abraham Ravid, John K. Wald, & Suman Basuroy. Vol. 30, no. 3, December 20062006

2006:Employing travel time to compare the value of competing cultural organizations,” Jaap Boter, Jan Rouwendal, & Michel Wedel, Vol. 29, no. 1, February 2005

2004: Using stated-preference questions to investigate variations in willingness to pay for preserving marble monuments: Classic heterogeneity, random parameters, and mixture models”, Edward Morey & Kathleen Greer Rossmann. Vol. 27, no. 3-4, November 2003

2002:Efficiency and inefficiency in the ranking in competitions: The case of the Queen Elisabeth Music Contest,” Herbert Glejser & Bruno Heyndels. Vol. 25, no. 2, May 2001.

Young Researchers Workshop Best Paper Award

2021:Intermediary liability and trade in follow-on innovation,” Alexander Cuntz (World Intellectual Property Organization) and Matthias Sahli (World Intellectual Property Organization)