December 13, 2016
FAIRNESS CONSIDERATIONS IN THE LIVE MUSIC INDUSTRY
By Hendrik Sonnabend Traditional economic thinking presumes artists in the live music business to act like a monopolist who adjusts the ticket price to...
November 30, 2016
THE ARTWORK BEHIND YOU – LET’S TALK ABOUT STATUS
By Claudia Schnugg and Johannes Lehner Art can be beautiful and demanding, it can induce aesthetic pleasures, represent values and ideas or challenge ways...
November 8, 2016
ARTS MANAGEMENT KNOWLEDGE IN A LATIN-AMERICAN CONSTRUCTIVE PERSPECTIVE
By Jaime Ruiz-Gutiérrez The creation and production of knowledge has been a monopole of industrialized economies. Their economic conditions are the guaranty to provide...
October 25, 2016
VOLATILE ART AUDIENCES
By Koen van Eijck Cultural consumers are increasingly hard to pin down as a certain type of consumer with a clearly defined taste. In...
October 11, 2016
GOING MEANS TROUBLE AND STAYING MAKES IT DOUBLE: THE VALUE OF LICENSING RECORDED MUSIC ONLINE
By Christian Handke, Balász Bodó and Joan-Josep Vallbé A longstanding and divisive debate rages over copyright enforcement online. This article discusses an alternative approach...
September 13, 2016
INSPIRING LOUVRE OR TATE? SUBJECTIVE WELL-BEING AND ENGAGEMENT IN ARTS, CULTURE AND SPORT
By Daniel Wheatley and Craig Bickerton Does engagement in art, culture and sport have positive effects on our well-being? This research contributes to our...
August 30, 2016
SOMEBODY MUST KNOW SOMETHING!
By John Sedgwick and Mike Pokorny William Goldman, the screenwriter of Butch Cassidy and the Sundance Kid, posited that ‘nobody knows anything’ about the...
August 16, 2016
THE ARTS CONNECT STUDENTS TO SCHOOL
By M. Kathleen Thomas Student enrolment in public school courses in visual art, music, theatre, and dance is linked to reduced high school dropout...
June 28, 2016
A HISTORY OF THE ART MARKET IN 35 RECORD-BREAKING SALES
Christophe Spaenjers, William N. Goetzmann and Elena Mamonova When Pablo Picasso’s “Les Femmes d’Alger (Version O)” sold at Christie’s in New York for $179 million...
June 14, 2016
MUSIC AND THE MUSIC INDUSTRY: A SAD-ONOMICS APPROACH
Samuel Cameron The economic analysis of music is at a crossroad. Digital innovations undermine the concepts of production deeply embedded in economics textbooks. Do...
May 31, 2016
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...
May 17, 2016
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...
May 3, 2016
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...
March 16, 2016
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...
March 2, 2016
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...
February 16, 2016
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...
