Академический Документы
Профессиональный Документы
Культура Документы
Fall 2009
Course Description
In this introductory course to the Arts Administration program we will study the market
environment in which arts administrators work, in particular looking at the relationships,
formal and informal, between artists, ‘humdrum’ workers, administrators, and consumers.
From small art galleries to major feature films, arts administrators face the task of
coordinating the work of creative talent and other professionals to bring the work to the
consumer, and we will examine how this coordination is carried out.
Of course, administrators in the newsprint or shipping industries also need to work with
complex relationships, and so we will want to consider the many ways in which the arts,
in all their variety, are different from other sectors, and the implications of these
differences for how works of art are produced and brought to market.
Readings
There is no text to purchase for this course. In the past I have relied upon Richard E.
Caves, Creative Industries: Contracts Between Art and Commerce (Harvard University
Press, 2000), and so there are many used copies of it around – it remains a very
interesting text, and worth browsing on the various topics we cover. But it is not required.
Each week I will post some lecture notes on OnCourse, and there are typically additional
readings. In the outline below, links are provided, except for cases where the reading is a
journal article for which IU has an online subscription. You access those articles as
follows:
This is the plan, although amendments are possible due to unforeseen events, interesting
topics that become especially newsworthy, new publications, etc.
Sept. 4: Some very useful economics: supply and demand and setting prices.
Sept. 11: Some more very useful economics: costs and rents.
In Agatha Christie's autobiography, she mentioned how she never thought she would ever
be wealthy enough to own a car - nor so poor that she wouldn't have servants...
W. J. Baumol and W. G. Bowen, ‘On the performing arts: the anatomy of their economic
problems’ American Economic Review, Papers and Proceedings 55(1/2) (1965):
495-502.
William J. Baumol, ‘Children of Performing Arts, The Economic Dilemma: The climbing
costs of health care and education’ Journal of Cultural Economics 20(3) (1996):
183-206.
Tyler Cowen, ‘Why I do not believe in cost disease’ Journal of Cultural Economics 20(3)
(1996): 207-214.
Why nonprofits?
Henry B. Hansmann, “The role of nonprofit enterprise” Yale Law Journal 89(5) (April
1980): 835-901. [note this is online in the JSTOR Arts and Sciences IV
Collection].
Paul DiMaggio, “Nonprofit organizations and the intersectoral division of labor in the
arts” in Walter W. Powell and Richard Steinberg (eds.) The Nonprofit Sector: A
Research Handbook, 2nd edition (Yale University Press).
[http://www.princeton.edu/~artspol/workpap/WP30-DiMaggio.pdf].
Steven Kerr, “On the Folly of Rewarding A, While Hoping for B” Academy of
Management Journal 18(4) (1975): 769-783.
Larry Weinstein and David Bukovinsky, “Use of the balanced scorecard and performance
metrics to achieve operational and strategic alignment in arts and culture not-for-
profits” International Journal of Arts Management 11(2) (Winter 2009): 42-55.
Nonprofit pricing:
Dennis R. Young and Taehyun Jung, “Mission-market tensions and nonprofit pricing”
Andrew Young School of Policy Studies, Georgia State University, Working
Paper 08-03 (2008). [Free download here:
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1083806].
Oct. 2: Class does not meet – Arts Administration Symposium (details to follow).
National Endowment for the Arts, Arts Participation 2008: Highlights from a National
Survey (2009) [http://www.nea.gov/research/NEA-SPPA-brochure.pdf].
Tak Wing Chan and John H. Goldthorpe, “The social stratification of cultural
consumption: Some policy implications of a research project” Cultural Trends
16(4) (December 2007): 373-384.
The Times (London) “Boys and girls come out to plays” (December 1, 2008)
[http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/theatre/article52
52870.ece].
New York Times “Pondering free access to French museums” (July 19, 2007)
[http://www.nytimes.com/2007/07/18/arts/18iht-museums.1.6714068.html?_r=1].
National Endowment for the Arts “Artists in the Workforce 1990-2005” Report #48.
Executive Summary
[http://www.arts.gov/research/ArtistsInWorkforce_ExecSum.pdf].
National endowment for the Arts, “Artists in a year of recession: Impact on jobs in 2008”
(2009): [http://www.nea.gov/research/Notes/97.pdf].
Cowen, Tyler “Why women succeed, and fail, in the arts” Journal of Cultural Economics
20(2) (1996): 93-113.
Claudia Goldin and Cecilia Rouse “Orchestrating Impartiality: The Impact of "Blind"
Auditions on Female Musicians” American Economic Review 90(4) (September
2000): 715-41.
Oct. 23 & 30: Visual arts: artists, galleries, collectors, auctions, museums.
In general:
Auctions:
Orley Ashenfelter and Kathryn Graddy “Auctions and the Price of Art” Journal of
Economic Literature 41(3) (September 2003): 763-787.
Sarah Thornton, Seven Days in the Art World (Norton, 2008): Chapter 1, “The Auction”
[OnCourse] (The book is worth buying; a very informative tour of the world of
visual art).
Museums:
Helmut K. Anheier and Stefan Toepler, “Commerce and the muse: Are art museums
becoming commercial?” in Burton A. Weisbrod (ed.) To Profit or Not to Profit
(Cambridge University Press, 1998) [OnCourse].
Roberta Smith, “Memo to art museums: Don’t give up on art” New York Times
(December 3, 2000).
Michael Kimmelman, “Museums in a quandary: where are the ideals?” New York Times
(August 26, 2001).
Glenn D. Lowry, “A deontological approach to art museums and the public trust” in
James Cuno (ed.) Whose Muse? Art Museums and the Public Trust (Princeton
University Press, 2004) [OnCourse] (A must-buy for students thinking of a career
in the museum world).
Museum pricing:
Ben Cowell, “Measuring the impact of free admission” Cultural Trends 16(3) (September
2007): 203-224.
David Maddison and Terry Foster, “Valuing congestion costs in the British Museum”
Oxford Economic Papers 55 (2003): 173-190. (Don’t worry about when the math
gets heavy-going…).
Tyler Green, “Cezanne may be great, but who can afford him?” Philadelphia Inquirer
(April 21, 2009):
[http://www.philly.com/inquirer/opinion/20090421_Cezanne_may_be_great__but_who_
can_afford_him_.html].
MR, “Are museums too expensive?” [http://mirushto.blogspot.com/2009/04/are-
museums-too-expensive.html], and “Just buy a membership”
[http://mirushto.blogspot.com/2009/05/just-buy-membership.html].
Shira Ross, ‘The greatest mystery: making a best seller’ New York Times May 13, 2007.
[http://www.nytimes.com/2007/05/13/business/yourmoney/13book.html?_r=2&or
ef=slogin].
Reuters, “Borders to drop ‘sale or return’ for HarperStudio Books” (Dec. 16, 2008):
http://www.reuters.com/article/rbssTechMediaTelecomNews/idUSBNG35703020
081216.
New York Times, “A new world: scheduling e-books” (July 14, 2009)
[http://www.nytimes.com/2009/07/15/books/15ebooks.html?_r=1&ref=arts].
Jack Shafer, “Does the book industry want to get Napstered?” Slate (July 15, 2009):
[http://www.slate.com/id/2222941/].
Classical music:
Popular music:
Elijah Wald, “Mitch Miller’s part in pop history” Financial Times (August 21, 2009)
[http://www.ft.com/cms/s/2/eeca345e-8de1-11de-93df-00144feabdc0.html].
A long tail?
Whimsley, “Online monoculture and the end of the niche” (March 15, 2009)
[http://whimsley.typepad.com/whimsley/2009/03/online-monoculture-and-the-
end-of-the-niche.html].
The state-of-play:
Kevin F. McCarthy et al, The Performing Arts in a New Era (RAND, 2001)
[http://www.rand.org/pubs/monograph_reports/2007/MR1367.pdf].
Philippe Ravanas, “Hitting a high note: The Chicago Symphony Orchestra reverses a
decade of decline with new programs, new services and new prices” International
Journal of Arts Management 10(2) (Winter 2008): 68-87.
Alan B. Krueger, “The economics of real superstars: the market for rock concerts in the
material world” Princeton University (2004)
[http://www.irs.princeton.edu/pubs/pdfs/484.pdf].
Robert Sandall, ‘Off the record’ Prospect, issue 137, August 2007. [link].
Jeff Leeds, ‘The new deal; band as brand’ New York Times, November 11, 2007. [link].
Ticket re-sale:
Seabrook, John. "The Price of the Ticket." The New Yorker. (10 Aug. 2009): p34
[http://go.galegroup.com/ps/i.do?action=interpret&id=GALE%7CA206012708&v=2.1&
u=iuclassb&it=r&p=LitRC&sw=w&authCount=1].
Edward Jay Epstein, The Big Picture: The New Logic of Money and Power in Hollywood
(Random House, 2005). You can read the prologue, which captures the
differences between the studio system and contemporary Hollywood here:
[http://www.edwardjayepstein.com/prologue.htm]. [Note there are four parts to
the prologue].
Arthur DeVany, “The movies” in Victor A. Ginsburgh and David Throsby (eds.)
Handbook of the Economics of Arts and Culture (North-Holland, 2006): 615-665
[OnCourse].
Dec. 4: On Strategy
Michael E. Porter, “How competitive forces shape strategy” Harvard Business Review
(March/April 1979): 137-145.
Chris Anderson, “Free: Why $0.00 is the future of business’ Wired (February 25, 2008):
[http://www.wired.com/techbiz/it/magazine/16-03/ff_free?currentPage=all].
Tyler Cowen, “Why everything has changed: the recent revolution in cultural economics”
Journal of Cultural Economics 32(4) (2008): 261-74.
Evaluation
There will be five, short written assignments, each worth 15% of the final grade, and a
final exam worth 25% of the final grade.
SPEA faculty do not tolerate cheating, plagiarism, or any other form of academic
dishonesty. If you have not done so, you should read the IUB Code of Student Rights,
Responsibilities, and Conduct, which can be accessed at http://dsa.indiana.edu/Code/ so
you will be sure to understand what these terms mean and what penalties can be issued
for academic dishonesty. Academic dishonesty can result in a grade of F for the class (an
F for academic dishonesty cannot be removed from the transcript). Significant violations
of the Code can result in expulsion from the University.
Plagiarism is using another person's words, ideas, artistic creations, or other intellectual
property without giving proper credit. According to the Code of Student Rights,
Responsibilities, and Conduct, a student must give credit to the work of another person
when he does any of the following:
I will make accommodations for students registered with Adaptive Educational Services
(AES) on the Indianapolis campus (Phone: 317-274-3241 or e-mail AES@iupui.edu) or
the Disability Services for Students Office in Franklin Hall on the Bloomington campus
(Phone: 812-855-7578).