Download Arts & Economics: Analysis & Cultural Policy by Bruno S. Frey PDF
By Bruno S. Frey
To positioned the humanities & ECONOMICS subsequent to one another, as within the identify to this e-book, will be surprising to a few readers. must never inventive artwork be freed from monetary constraints, needs to it now not lead a lifetime of its personal? And is economics now not the world of suggest advertisement dealings? This ebook argues that it's not so: the humanities & ECONOMICS pass good jointly, certainly want one another. and not using a sound monetary base, paintings can't exist, and with no creativity the economic system can't flourish. there's a moment approach during which the humanities and Economics pass jointly, specifically within the feel of using monetary considering to the humanities. during the last many years, this scholarly recreation has been confirmed below the identify of "The Economics of artwork" or "Cultural Economics". yet this can additionally sound revolting to a few readers because it indicates an imperialistic extension of a lowly benefit-cost calculus to the area of paintings. This worry is unwarranted. to the contrary, cultural economists rigidity the social worth of artwork and shield it opposed to a crude company view of paintings. instead of brushing aside paintings with no direct advertisement revenue, artwork economists search methods and technique of aiding it. This e-book isn't a textbook summarizing the achievements attained via the economics of artwork. Such books exist already, between them the author's personal, Muses and Markets, Explorations within the Economics of artwork, written together with Werner Pommerehne. VI Preface ARTS & ECONOMICS charters little identified territories.
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Additional resources for Arts & Economics: Analysis & Cultural Policy
What Are "Superstars" in Art? 53 as a result, Getty has now (for an undisclosed price) acquired van Gogh's "Irises", which is far better known to the general public. 4. Architecture. Superstar museums are often located in buildings which themselves constitute a world famous artistic feature. Examples are Frank Lloyd Wright's Guggenheim Museum in New York; the Centre Pompidou in Paris; Mario Botta's San Francisco Museum of Modem Art; Frank Gehry's Guggenheim Museum in Bilbao, and Richard Meier's Getty Center in Los Angeles.
Superstar museums feature painters and paintings that are known to (almost) everybody. The superstar idea was originally developed to account for the high income of specific persons, emphasizing that the differences to other persons in income far exceed the differences in talent and performance. This also applies in the case of artists and painters. g. Filer 1986 or chapter 9 in Frey and Pommerehne 1989a). The collections in large museums comprise works by thousands of artists; only a fraction of them are known to art lovers, let alone to the general public.
A large number o/visitors. Superstar museums have experienced a dramatic increase in the number of visitors and are now an integral part of mass tourism. In the nineties, millions of people visited the important art museums each year: for example, the Metropolitan Museum of Art in New York: 4 million; the National Gallery in London: 3 million; the Louvre in Paris: 6 million (see Bayart and Benghozi 1993). About 50 percent of the visitors to the British Museum or the National Gallery are foreigners, mainly tourists (National Audit Office 1993).