Children of performing arts, the economic dilemma: The climbing costs of health care and education

1996 ◽  
Vol 20 (3) ◽  
pp. 183-206 ◽  
Author(s):  
William J. Baumol
1969 ◽  
Vol 17 (1) ◽  
pp. 170
Author(s):  
Wilfred C. Bain ◽  
William J. Baumol ◽  
William G. Bowen

1967 ◽  
Vol 19 (3) ◽  
pp. 408
Author(s):  
Burnet M. Hobgood ◽  
William J. Baumol ◽  
William G. Bowen

Art History ◽  
2014 ◽  
Author(s):  
Noah Horowitz

This article surveys the growing body of literature covering the international art market. Though discussions about collecting and patronage are as old as the market itself, the academic field of study is relatively new and continues to expand rapidly. Gerald Reitlinger’s Economics of Taste remains the foundational historical survey of its kind, and Baumol and Bowen’s Performing Arts: The Economic Dilemma, which looks at the economics of the performing arts, is credited with catalyzing the field of cultural economics (ultimately leading to the founding of The Journal of Cultural Economics in 1977). This has led, in subsequent years, to detailed inquiry into historical market structures and public policy issues. More recently, as the art world has spread globally and sales of modern and contemporary art have reached unprecedented heights, there has been a flood of writing on the investment value of art and on new types of collectors and market practices. The Internet, meanwhile, has enabled scholars and market professionals alike to actively mine the trade for up-to-the-minute data and analytics. This article aims to ground this sprawling debate and begins with an introduction to the literature on art market history and continues with sections on the following: how the market works, investment issues, critical theory, current market issues; plus there is an overview of analytical and research tools. This article should speak to scholars across a variety of disciplines, from art historians, critics, and journalists to economists and sociologists. Certainly one goal of future art market studies is to bridge this gap by providing intelligent economic analysis of the global trade that is equally in tune with the sensibilities of the diverse actors and positions that constitute it.


2008 ◽  
Vol 23 (2) ◽  
pp. 82-84
Author(s):  
John Hadok

In 2006, as part of a national regional-arts conference, I attempted to bring together health care workers with an interest in caring for performing artists. The plan was to gather in symposium, to share ideas and expertise, and inaugurate a network of practitioners across Australia. It was a good idea—at least I thought so at the time, and the generous experts who agreed to participate for free also seemed to think so. However, the exigencies of mounting a symposium in a regional city, in a field hitherto never organised in this country, with no finance, and only one assistant (albeit very capable!—Marilyn Bliss—to whom I am forever grateful) proved too much. After much lost money and sleep, and with a feeling of crushing defeat, I cancelled the project. As sometimes happens, the momentum has continued. From that quixotic project has grown a new organization, the Australian Society for Performing Arts Healthcare (ASPAH).


1973 ◽  
Vol 4 (1) ◽  
pp. 137 ◽  
Author(s):  
Ljiljana Kristl ◽  
William J. Baumol ◽  
William G. Bowen

2018 ◽  
Vol 33 (2) ◽  
pp. 146-146 ◽  
Author(s):  
Bronwen J Ackermann

In recent years, across all health care disciplines, the higher quality and volume of specific literature on health issues pertaining to performing artists are allowing ever more specialised and targeted evidence-informed interventions to be delivered. Whether performing artists recognise the new-found knowledge as well as the growth in training and domain-specific expertise of certain dedicated health professionals is unclear. Developing and maintaining good communication and the establishment of trust between performing artists, educators, and health professionals is crucial to facilitate better management of injuries in performing artists.


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