The rapidly changing and evolving art market might appear to be chaotic to the casual observer, with new highs, potential lows, and tastes and fashions changing season to season. Economists, however, view the actions of buyers and sellers as constituting an identifiable market. They have, for some decades, studied such issues as artistic productivity and "death effects" on prices, investment returns, and on the basis of the behavior and estimated prices in auction markets. The Economics of American Art analyzes the most pervasive economic issues facing the art world, applied to the whole spectrum of American art. The book begins by looking at how a market for American art developed, how the politics of the post-war era shaped, at least in large part, the direction of American art, and how this legacy continues into contemporary art today. The book then tackles several salient, integral questions animating the American art world: Are age and "type" of artist (i.e. traditional or "innovative") related and, if so, how might they be related to productivity? Is investment in American art a remunerative endeavor compared to other investment possibilities? Do economic insights provide understanding of fakes, fraud and theft of art, particularly American art, and is it possible to prevent art crime? Is there is a boom (or a bust) in the market for contemporary American art as might be found in other markets? The ongoing evolution of American art is attended by a massive number of influences, and the economic concepts employed in this volume will complement other critical and important cultural studies of art. Both practical and accessible, The Economics of American Art will be essential for collectors, auction houses, American art experts of all kinds, museums, gallery owners and, not least, by economists with continuing scholarly interests in these matters.

Americans agree about government arts funding in the way the women in the old joke agree about the food at the wedding: it's terrible--and such small portions! Americans typically either want to abolish the National Endowment for the Arts, or they believe that public arts funding should be dramatically increased because the arts cannot survive in the free market. It would take a lover of the arts who is also a libertarian economist to bridge such a gap. Enter Tyler Cowen. In this book he argues why the U.S. way of funding the arts, while largely indirect, results not in the terrible and the small but in Good and Plenty--and how it could result in even more and better. Few would deny that America produces and consumes art of a quantity and quality comparable to that of any country. But is this despite or because of America's meager direct funding of the arts relative to European countries? Overturning the conventional wisdom of this question, Cowen argues that American art thrives through an ingenious combination of small direct subsidies and immense indirect subsidies such as copyright law and tax policies that encourage nonprofits and charitable giving. This decentralized and even somewhat accidental--but decidedly not laissez-faire--system results in arts that are arguably more creative, diverse, abundant, and politically unencumbered than that of Europe. Bringing serious attention to the neglected issue of the American way of funding the arts, Good and Plenty is essential reading for anyone concerned about the arts or their funding.

This volume emphasizes the economic aspects of art and culture, a relatively new field that poses inherent problems for economics, with its quantitative concepts and tools. Building bridges across disciplines such as management, art history, art philosophy, sociology, and law, editors Victor Ginsburgh and David Throsby assemble chapters that yield new perspectives on the supply and demand for artistic services, the contribution of the arts sector to the economy, and the roles that public policies play. With its focus on culture rather than the arts, Ginsburgh and Throsby bring new clarity and definition to this rapidly growing area. - Presents coherent summaries of major research in art and culture, a field that is inherently difficult to characterize with finance tools and concepts - Offers a rigorous description that avoids common problems associated with art and culture scholarship - Makes details about the economics of art and culture accessible to scholars in fields outside economics

The National Bureau of Economic Research organized a project to explore the economic issues facing the major art museums of the United States. For this purpose NBER defined economics broadly to include not only the financial situation of the museums but also the management and growth of museum collections, the museums' relationship with the public, and the role of the government in supporting art museums. This volume brings together nontechnical essays on these issues by economists associated with the NBER and personal statements by leaders of America's major national art museums and related foundations. It can be read not only by economists but also by museum officials and trustees. Museum directors generally come to their responsibilities with a background in art history and curatorial work but without experience in thinking about the management and public policy aspects of museum administration. Trustees who serve on museum boards generally have a background in business or law but have not previously tried to apply their experience to the unusual economic problems of museums. The background papers, the panelists' remarks, and the summary of the discussion will help them to approach their responsibilities with a better understanding of the problems and possibilities of the museum.

Markets -- Cost -- Price -- Structure -- Failure -- Power -- Labor -- Property -- Investment -- Systems.

The economics of the Arts is a new field with a small but rapidly-growing literature, which has emerged in recent years out of the eagerness of economists to apply their techniques to hitherto untried areas and the recognition by Arts administrators of the rapidly increasing economic pressures on the Arts. This book of readings is the first of its kind. Of the 16 articles, 8 are directly concerned with the Arts in America; the other 8 deal with the British scene. What can economics say about so non-economic a subject as the Arts? Obviously, finance for the Arts involves economic considerations. But in addition, economics provides, among other things, a logic of rational choice, and the economists' style of thinking, therefore, is adaptable to any problem of choice in respect of any set of goals, whether they be economic goals or not. Then, there is the question of whether economics can provide a case for public support for the Arts, that is, whether the State should subsidize the Arts. This is a familiar problem in the economics of welfare but its application to the Arts raises novel questions and even economists are not agreed on whether economics can provide such a rationale. Also, there is the question of criteria for public expenditure on the Arts, assuming that the case for some public expenditure has been made. Can economists tell us how much the State should spend on the Arts? Surely, they can help us with a host of other questions: should museums and galleries charge fees; should museums ever sell off parts of their collections; can the Arts economize on their expenditures; how can modern music be most effectively encouraged by public funds; are ticket prices an important element in the demand for the Arts; and does the low pay of artists discourage individuals from taking up artistic occupations?

The 2001 second edition of this survey of the economics of - and public policy towards - the fine arts and performing arts covers arts at federal, state, and local levels in the United States as well as the international arts sector. The work will interest academic readers in the field and scholars of the sociology of the arts, as well as general readers seeking a systematic analysis of the arts. Theoretical concepts are developed from scratch so that readers with no background in economics can follow the argument. The authors look at the arts' historical growth and then examine consumption and production of the live performing arts and the fine arts, the functioning of arts markets, the financial problems of performing arts companies and museums, and the key role of public policy. A final chapter speculates about the future of art and culture in the United States.