FREE PORTS OR ART PRISONS?
By Sigrid Hemels Art may be stored without tax in free ports. However, one may wonder whether free ports are just special tax regimes or whether there is more laying…
Author: trilcenavarrete
Posts by trilcenavarrete
DOES THE LONG-TAIL BENEFIT SMALL PUBLISHERS? EVIDENCE FROM THE FRENCH PUBLISHING INDUSTRY
By Stéphanie Peltier, Françoise Benhamou and Mamoudou Toure What does the long tail effect mean? In many industries, sales are concentrated on a few products in spite of the diversity…
CAN TWO HEADS LEAD? THE ART VERSUS THE COMMERCE ORIENTED MANAGER IN FILM PROJECTS
By Joris Ebbers and Nachoem Wijnberg Film projects have a dual-leadership structure, based on a division of tasks between the director and the producer, with the former predominantly responsible for…
TOURISTS AND MUSEUMS: WHEN LEISURE BECOMES LEARNING
By Juan Gabriel Brida, Chiara Dalle Nogare and Raffaele Scuderi Are museums successful in their mission to disseminate culture, and as such, to be means for learning in the era…
WOMEN BENEFIT MORE: CONNECTIONS BETWEEN SLOVENIAN VISUAL ARTISTS OF THE 19 AND 20 CENTURIES
By Andrej Srakar, Petja Grafenauer and Marilena Vecco Slovenian art history has received very little (if any) attention from the viewpoint of network theory. Are the artists more productive when…
ARTISTS’ SURVIVAL RATE: EDUCATION MATTERS
By Trine Bille and Søren Jensen The literature of cultural economics generally finds that an artistic education has no significant impact on artists’ income and careers in the arts. In…
EconomistsTalkArt.org SHARES ITS SUCCESS AND ENTHUSIASM INTO THE NEW YEAR
By Editorial Board ETA was launched in November 2015 to provide a space for the dissemination of research-based policy analysis and commentary by cultural economists. After a full year of…
WHY ARE THERE SO MANY ART THEFTS, AND WHAT CAN BE DONE ABOUT THEM?
By Frederick Chen and Rebecca Regan More than 50,000 pieces of artwork are stolen each year globally, and many cases of art crimes are facilitated by lax security at museums….
THE KNOWLEDGE CLUB: NEW BUSINESS MODEL
By Redaction Maybe we’ve been thinking about science all wrong. In the old model, knowledge was privately produced, then ‘communicated’ to make it a public good. Journals did the communicating….
THE ARTS ALONE OR TOGETHER? TIME USE AS A MEASUREMENT OF THE VALUE OF THE ARTS
By Elisabetta Lazzaro and Carlofilippo Frateschi How can we measure the value of arts activities and practices taking into account individuals’ interactions? Is there a difference between participating in the…
WHAT IS COPYRIGHT GOOD FOR?
By Ruth Towse What are the relative roles of copyright law and market forces, especially when they are altered by disruptive technologies? The paper takes an historical approach to the…
WHAT CULTURAL PRODUCERS MAY LEARN IN TIME OF RECESSION
By Tiziana Cuccia and Ilde Rizzo Cultural producers adopt different strategies to cope with the effects of the great recession and differentiate the sources of their funds. Looking at a…
WHO ARE THE VISITORS OF CULTURAL SITES ACROSS EU COUNTRIES?
By Martin Falk and Tally Katz-Gerro Are there significant cross-country differences in the frequency of visits to cultural sites? Are the socio-demographic and economic correlates of visits to cultural sites…
FROM MORE TO BETTER: WHAT ART TEACHES US ABOUT QUALITY
By Erwin Dekker Products are more and more differentiated, and qualitative differences between products are ever more important. What does that imply for the way we study markets? And do…
MULTI-PLATFORM MEDIA: HAS DIGITIZATION REALLY GIVEN US MORE FOR LESS?
By Gillian Doyle Nowadays more content is accessible, in more formats, on more devices, for more people than ever before. But, as media companies make the journey from being single…