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This book represents a collection of 7 works by authors arguing for the support of public spending on the arts: (1) "Introduction: The Value of Economic Reasoning and the Arts" (Harry Hillman-Chartrand), examines the changing social perception of the arts over time, and describes the interaction among the sectors of the arts; (2) "Arts Impact Studies: A Fashionable Excess" (Bruce A. Seaman), questions the theory underlying studies that measure primary spending associated with art activities for the arts are seen as having an important role in local economic development by improving the social infrastructure of communities and by enhancing the quality of human capitol within a region, a role which is not quantitatively measurable; (3) "Economic Impact Studies of the Arts as Effective Advocacy" (Anthony J. Radich and Sonja K. Foss), explores the ways in which five illustrative economic impact studies were tools of effective advocacy for the arts by achieving communication between arts advocates and representatives of business and government; (4) "Improving the Design and Policy Relevance of Art Impact Studies: A Review of the Literature" (David Cwi), reviews impact studies in 16 states, discussing the terms of reference and content of those studies faulting the typical study as doing less to assist its sponsors in arts policymaking than such studies could; (5) "The Role of the Arts in State and Local Economic Development" (R. Leo Penne and James L. Shanahan), indicates that, in the postindustrial society, the arts are amenities that attract and retain talented people, foster the spirit of innovation and adventure, convey a positive city image, and thus are real contributors to local economic development; (6) "Evaluating Cultural Policy through Benefit/Cost Analysis" (William S. Hendon), advocates and describes procedures for explicit and quantified cost benefit analysis; and (7) "Economic Structure and Impact of the Arts: Comparison with the Nonarts" (James H. Gapinski), completes the selection of articles with the common message that the arts have a pervasive, positive effect on local economies. A glossary, a bibliography, and a section about the authors follow. The book is indexed by subject, name, and studies cited. (MM)
The arts and cultural sector has always been a challenging area in which to find business success; the advent of the global health crisis due to COVID-19 has greatly amplified these challenges. Thanks to the expertise of 22 scholars, this text elaborates on the most common key strategic mistakes and misunderstandings to help arts and cultural organizations finding success. This book starts by looking at the evolution of competition in those industries. Several new and challenging drivers shape the competitive environments of arts and cultural organizations. A customer-centric approach helps in identifying ten crucial managerial processes in which strategic mistakes are commonly made. This book proposes a revised managerial vision of the key processes that constitute every arts and cultural organization. Each chapter offers an innovative analysis of a classic managerial problem, describing popular mistakes and providing case-based insights derived from real world important examples. Specifically, each chapter elaborates on two illuminating examples, one of which is always chosen among the Italian arts and cultural organizations, thus belonging to the world’s leading cultural sector. Speaking to current and student arts managers, this insightful book channels national and supranational cultural heritage to provide essential reading for managers of present and future arts and cultural organizations.
From the phenomenally successful new Tate Modern to the DIA: Beacon and Liverpool Biennial, contemporary visual art seems more than ever enmeshed in prominent public institutions and new forms of patronage, whether public commissions or corporate sponsorships. In Art, Money, Parties, renowned figures from the art world--including artists, dealers, and gallery owners--join scholars to consider these new institutional faces of contemporary art, their influence on art and artists, and how they affect the future of art. The essays in this collection, which originated at a conference organized by Tate Liverpool and the University of Liverpool, offer frequently contentious positions on the role of new institutions and patronage in the world of contemporary art. For example, while Liverpool Biennial director Lewis Biggs delivers a fairly optimistic assessment of the state of contemporary art, scholar Paul Usherwood unleashes a scathing critique of recent public art commissions. From opposing perspectives, gallery owner Sadie Coles reviews the history of her own involvement in the art world during the 1990s, and artist Stewart Home offers a sharply contrasting view of the value of the art produced in that decade. Rather than an attempt to craft a consensus, though, Art, Money, Parties is instead an effort to map out the position of--and possibilities for--contemporary art in a period of growing public sponsorship and attention. The vibrant, growing interest in contemporary art--evidenced by the success of the institutions under consideration--makes Art, Money, Parties a timely and indispensable contribution to any debate on the present and future of art.
The second edition of this widely acclaimed and extensively cited collection of original contributions by specialist authors reflects changes in the field of cultural economics over the last eight years. Thoroughly revised chapters alongside new topics and contributors bring the Handbook up-to-date, taking into account new research, literature and the impact of new technologies in the creative industries. The book covers a range of topics encompassing the creative industries as well as the economics of the arts and culture, and includes chapters on: economics of art (including auctions, markets, prices, anthropology), artists' labour markets, creativity and the creative economy, cultural districts, cultural value, globalization and international trade, the internet, media economics, museums, non-profit organisations, opera, performance indicators, performing arts, publishing, regulation, tax expenditures, and welfare economics.
This book documents the use of methods that put a value on cultural goods, including theater, cultural events, museums, archeological sites, and libraries. The author sets forth the advantages and disadvantages of each method using case studies to illustrate how they work. Moreover, the theoretical background of the methods and the kind of information they can provide are discussed. Both market and non-market valuation techniques are covered.
An intellectual history of contrasting ideas around the power of the arts to bring about personal and societal change - for better and worse. A fascinating account of the value and functions of the arts in society, in both the private sphere of individual emotions and self-development and public sphere of politics and social distinction.
Culture manifests itself in everything human, including the ordinary business of everyday life. Culture and art have their own value, but economic values are also constrained. Art sponsorships and subsidies suggest a value that exceeds market price. So what is the real value of culture? Unlike the usual focus on formal problems, which has 'de-cultured' and 'de-moralized' the practice of economics, this book brings together economists, philosophers, historians, political scientists and artists to try to sort out the value of culture. This is a book not only for economists and social scientists, but also for anybody actively involved in the world of the arts and culture.