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1.
Beginning in 1979, certain states extended extra copyright protection, known as “moral rights” protection, to visual artists.
Moral rights protection, which was incorporated into U.S. copyright law in 1990, ensures that works cannot be altered in a
manner that would negatively impact the reputation of the artist. Using difference-in-differences regression strategies, we
compare artists and non-artists in states with moral rights laws to those in states without these laws, before and after the
laws are enacted. This enables us to test the impact of the laws on the behavior of artists, consumers, and policy makers.
Our analysis reveals that the average artist’s income falls by around $4000 per year as a result of moral rights legislation,
but we find no impact of the laws on artists’ choices of residence or on state-level public spending on the arts. 相似文献
2.
Geographic clustering of economic activity: The case of prominent western visual artists 总被引：1，自引：1，他引：0
This article compiles original data relating to artists’ place of birth and work migration patterns using various art history
dictionaries. The broad historic pattern, from the 13th to the 20th century, of the birth locations of prominent artists is examined, followed
by a detailed study of the work migration patterns of prominent artists in two important situations, namely Renaissance Italy
and France in part of the 19th century. The evidence indicates a marked clustering of activity of prominent artists, both
arising from birth location and migration patterns. Some possible explanations for the observed patterns are briefly outlined.
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| John O’HaganEmail: |
3.
William M. Landes 《Journal of Cultural Economics》2001,25(4):283-306
This paper presents an economic analysis of the Visual Artist's Rights Act of 1990 (VARA) which provides attribution and integrity rights, commonly called moral rights, for defined types of artistic works. The paper shows that these laws may actually harm artists by adding contracting and transaction costs in the art market. For most works, these costs will be trivial because collectors have a strong self-interest in preserving works in good condition. These costs are more likely to be significant, however, for works subject to destruction or alteration in the future, such as site-specific works and works installed in buildings, because purchasers will require waivers rather than risk violating the Act. The paper also examines the few cases that have been litigated under VARA. Consistent with the economic model, these cases involve large-scale works by relatively unknown artists that have been destroyed by building projects. Finally, the paper presents an empirical analysis of state moral rights laws. Nine states enacted these laws prior to VARA. These laws had no significant effect on artist earnings but a positive and significant effect on the number of artists living and working in the state. 相似文献
4.
Andrea Ordanini 《Journal of Cultural Economics》2006,30(3):183-200
The is article analyses the two main approaches for artists’ selection in the recording industry: the direct model in which large major companies directly choose new artists from the supply market, and the agency model in which small independent labels realise the first choice and, subsequently, large organisations pick their new artists among those pre-selected by independents.An empirical analysis of chart sales reveals that artists selected through the agency model exhibit a longer presence on the chart due to repeated successes, while they are slower to reach heavy success once they have entered the chart. Conversely, the direct model leads to artists with a faster path to a strong success, but the same artists have a shorter presence on the chart due to the sporadic nature of their success. The profile of artists selected through these two models is also found to be different: big international soloist stars are more frequently selected through the direct model, while national bands are more frequently selected through the agency model.The insights suggest important implications for management in the cultural industries and especially in the recording industry.
Jel Codes: L82; O32 相似文献
5.
Roger A. McCain 《Journal of Cultural Economics》1994,18(2):101-112
This paper explores the implications of models of bargaining power for issues having to do with the droit de suite, a legal right of graphic artists to a share in capital gains when a work of art is resold by the first purchaser. It is found that, if both artists and art buyers are risk averse, a positive resale share will be the outcome of a bargaining process that is Pareto-optimal as between the bargainers. This does not depend on bargaining power but is a form of risk-sharing, and to the extent that art buyers are risk averse will be preferred to a zero shareby the buyers. Since resale royalties are not ordinarily a feature of art sale contracts in the absence of legislation, this appears anomalous, and the paper explores alternatives to the received bargaining theory such as might correspond better with casual empiricism. 相似文献
6.
Michael Hutter Christian Knebel Gunnar Pietzner Maren Schäfer 《Journal of Cultural Economics》2007,31(4):247-261
The article tests a couple of hypotheses relating to markets where demand is not taken as a given, but subject to sophisticated
and encompassing price-building strategies. The study uses a data set that provides quoted dealer prices for medium-sized
works of 100 leading visual artists from 1970 to 2004. These data are compared with auction price results for works by the
same artists. The study reports significant discrepancies with respect to the relationship between the age of artists and
prices paid for their works in the two markets, and with respect to general price developments in the two markets as measured
by indices.
相似文献
| Michael HutterEmail: |
7.
Conclusion What we have accomplished is to provide a framework in which artists are seen as economic individuals who base decisions on the same set of factors as nonartists. We are uncomfortable with the notion that artists are a special breed who are not responsive to economic incentives. We are also uncomfortable with the notion that nonartists could never be artists. However, the model as presented does allow for the possibility that an artist will incorrectly estimate the worth of his or her works, and continue to pursue an artistic career. It also allows for the possibility that some nonartists may also make the wrong choice and pursue a nonartistic career instead of an artistic one. 相似文献
8.
Age curves, which relate age to creativity or exceptional achievements, seem to take two forms: some artists bloom early (Picasso), others later in life (Cézanne). We argue that this objective fact is not related to their mode of creation according to which some artists proceed by drawings made prior to the painting's execution, while others are more likely to imitate and achieve this through color and the process of painting itself.
JEL numbers:Z10,Z11A very preliminary version of this paper was presented as a discussion at the conference Measuring Art: A Scientific Revolution in Art History, University of Chicago and American University of Paris, June 2003. 相似文献
9.
This paper examines whether commercial success in the popular recorded-music industry, as measured by gold-record output, conforms to an empirical concentration. We find that Lotka's Law overestimates the number of artists with one gold record and underestimates the number of multiplegold-record performing artists. However, for all measures of successful records, theGeneralized Lotka's Law provides an excellent fit, which suggests that the number of performers producingn gold records in about 1/n
c of those producing one gold record. 相似文献
10.
Earlier work on the supply of labour of artists has shown that, whenever workers derive satisfaction from the process of work, which is usually the case for artists, some traditional results are reversed. As their proponents make clear this analysis is essentially static, as it does not take into account the intertemporal dimension of the supply of labour. The paper argues that to provide such a dynamic analysis three routes are available: the human capital approach, the household production approach and the evolutionary approach. The paper, therefore, is aimed at discussing the adequacy of various theoretical approaches to the treatment of a specific question. 相似文献
11.
This study concentrates in part on the market of fine arts. First, fine arts will be defined from a marketing point of view and peculiarities in the market of fine arts will be analysed empirically and theoretically. Certain aspects of marketing theory are discussed regarding their significance for the fine arts. Results of an empirical study of galleries and artists will be presented. It will be shown, whether and how artists are involved in marketing, how successful they are and what prerequisites to marketing the artists have. 相似文献
12.
Christiane Hellmanzik 《Journal of Cultural Economics》2009,33(3):201-232
This paper is based on a global sample of the 214 most prominent modern visual artists born 1850–1945. Two analytical methods
are used to analyse the age at which artists produce their best works—one based on year-of-birth cohorts of modern visual
artists and the other on stylistic groups. The cohort-analysis shows that the career patterns develop similarly over time
for artists working in the USA and Europe; over time the artists’ peak ages first increase, reach their maximum for artists
born between 1890 and 1909, and then decrease again. The study of stylistic groups shows that artists associated with Fauvism,
the Nabis and Post-Impressionism experience an early peak, whereas artists associated with Surrealism, Impressionism, Abstract
Expressionism, Art Informel, Pop Art, Expressionism and Cubism peak later in their careers.
相似文献
| Christiane HellmanzikEmail: |
13.
Merja Heikkinen 《Journal of Cultural Economics》1995,19(3):261-272
The paper deals with the relationship between direct public support for artists and the economic situation of artists. The empirical findings stem from a research project on the situation of artists in Finland. Some problems connected with obtaining relevant data on artists' economic situation are presented. The effects of direct financial support granted to individual artists on their income level and income discrepancies are illustrated with different patterns of impact. A brief presentation of the goals and measures of public policy towards artists in Finland is given, and the relationship with policy objectives and income effects of direct artists support is discussed. Two issues relevant for evaluating artist policy are raised: the need to account for the fundamental differences between art fields and artistic occupations, and the need to study the actual functions grant income has for the artists. 相似文献
14.
Brinja Meiseberg 《Journal of Cultural Economics》2014,38(1):9-42
Based on a unique dataset of artists that are active in the German market for folk music—the third largest music genre in terms of popularity and sales—I study what factors determine the artists’ success. Following Rosen (Am Econ Rev 71(5):845–858, 1981), I test if differences in artistic performance have a direct effect on financial rewards as regards physical and digital record sales (“direct superstar effect”). Following Adler (Handbook on the economics of art and culture. Elsevier, Amsterdam, 1985), I also study sales effects of a media presence of artists (“classical superstar effect”). Controlling for various contingency factors (e.g., record labels’ support, artists’ socio-demographics), I deal with an economic issue of general interest: Does it pay more to develop your skills in your core business to perfection or to maintain the current level of skills and invest in self-marketing; and do these effects apply to all folk artists alike? Rather contrary to studies on pop and rock genres, I find that higher ability increases artists’ revenues disproportionately, but simultaneously, openly competing for the recognition of one’s talent holds substantial economic risk. I also observe a positive effect of various types of media presence on financial rewards. However, these income determinants have different impacts on sales in physical versus in digital markets, and their effects vary across the success distribution from low- to top-selling artists as well. 相似文献
15.
16.
Legislation creating or reinforcing resale royalties for visual artists retains substantial political popularity – particularly in the European Union – despite the often skeptical attitude toward those rights in the economics literature. In this essay, we probe more deeply the affirmative arguments that can be made for a resale royalty right, in either a mandatory or a discretionary form. We also compare the rationale for visual artists' resale royalties with the potential rationales for the now-well-established systems of royalty rights for authors and composers. This comparison has particular interest both because some of the principal arguments made against visual artists' resale royalties also apply to authors' royalties, and because the economic rationale for compensating authors with royalties has itself not been well explored. We also discuss briefly the related subject of display rights for visual artists. We conclude with some general implications for policy. 相似文献
17.
Monica Favaro Sara Bianchin Pietro A. Vigato Muriel Vervat 《Journal of Cultural Heritage》2010,11(3):265-278
Giovanni Fattori (Livorno 1825–Firenze 1908) is the most representative artist of the Macchiaioli's current, an early group of Italian plein-air artists, whose work anticipates, in the xixth century, that of their younger contemporaries, the French Impressionists. The study, performed by a multidisciplinary team made up of scientists and conservators, presents the results of the scientific characterization carried out on a group of 10 paintings made by Fattori between 1854 and 1893 and shows the way he used complex mixtures of a large variety of traditional and synthetic pigments, ranging from lead white, found pure and also extended with calcium carbonate, natural barite and gypsum to zinc white, from red ochre to cinnabar and vermilion, from yellow ochre and Naples yellow to chrome yellow, cadmium yellow and zinc yellow, combined with many other ones reported in details. This paper highlights the evolution of his painting technique during a time of great technological and social innovations and puts forward some hypothesis on his awareness about manufactured pigments, i.e. tube paints recently introduced into the artists’ circles. The wide range of pigments and their different quality among the same synthetic products suggest that the artist used all the available materials, and that picking out the pigments he retained the early xixth century artists techniques, such as the use of mineral earths and Prussian blue, similarly to his contemporary Italian artists Federico Zandomeneghi and Telemaco Signorini, but he also experimented new and peculiar pigment mixtures in the making of “colored darks” and an innovative use of the grounds in the final composition, that are also distinctive features of the French Impressionists. This work is aimed at contributing to overcome the lack of a comprehensive overview on the widespread historical and scientific data collected up to now on the Italian paintings in the xixth century, which has been severely underestimated with respect to previous art movements. 相似文献
18.
The paper discusses the impact of gender on the income level and public support of artists in Finland. The empirical data is based on a research project carried out in the Arts Council of Finland. The data discussed in this paper indicated that the average income level of women artists is lower than their male colleagues. There was, however, no significant evidence of a gender bias in the distribution of public support for artists. The variation in the economic situation of artists seems to be notably stronger according to art form than according to gender.Based on a paper presented at the 9th international conference of the Association for Cultural Economics, held in Boston, May 8–11, 1996. 相似文献
19.
Within a hedonic pricing model, the preferences of Australian art purchasers are investigated. Emphasis is placed on the impact of an artwork’s dimensions upon its auction price. A salient aspect of this is the first test of the ‘golden ratio’ hypothesis in a market situation. It is concluded that purchasers prefer paintings that deviate from the golden rule. The ‘orientation’ of works (portrait, landscape or square) as well as size also helps determine price. The impact of winning the Archibald portraiture prize (Australia’s foremost art prize) is found to have significant and positive impacts on winning artists’ prices. This suggests that purchasers are not fully informed. In addition, a previously unsuspected relationship between artwork dimensions and Archibald prize winners was found. As well as purchasers’ preferences, the artists’ choices of the dimensions of their artworks are considered. 相似文献
20.
The purpose of this article was twofold. Firstly, to investigate the heterogeneity among artists as an occupational category and secondly, to define arts as a profession and thereby to make a distinction between professional artists and amateurs. Artists' income and working conditions have been the subject of several studies, and many different sampling criteria have been used. Scholars have not yet achieved consensus on who should be included in the profession. In this article, we make an innovative contribution to this conversation. By applying a finite mixture model, which combines latent profile and latent class analysis, we have been able to identify different segments of artists in terms of professionalism. Each of these mutually exclusive classes is characterized by a particular income and working situation. We also include a membership function, estimated through a logistic regression, which allows prediction of the probability that an individual will belong to each class, given his/her socioeconomic characteristics. The subject of our study is Danish visual artists. The dataset consists of a combination of register data from Statistics Denmark and data collected from a questionnaire survey with 892 respondents. Based on the artists’ civil registration numbers, the two sources have been merged into a unique dataset. Our finite mixture model shows the heterogeneity among artists. Combined with a theoretically definition of arts as a profession, our research propose a distinction between professional artists and amateurs that cuts across categories used in prior literature. The results can be beneficial to cultural policy.
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