ARE INTERNSHIPS IN THE CULTURAL INDUSTRY (UN)FAIR? A STUDY OF THE DEMAND SIDE

By Ellen Loots and Rūta Skujiņa

Work in the cultural industry has been labelled ‘affective labour’: many workers experience a strong affective attachment to arts and culture, originating and resulting in feelings of wellbeing, connectedness and excitement (cf. Hardt and Negri 2000). Young aspirant workers find the industry a highly appealing work environment, despite increasing evidence of drawbacks of cultural work, including underemployment, low pay and health problems due to the flexibility and insecurity that come with working in the cultural industry. Being able to enter such a labour market often requires a set of unpaid work experiences, including internships. How (un)fair is that?

Continue reading “ARE INTERNSHIPS IN THE CULTURAL INDUSTRY (UN)FAIR? A STUDY OF THE DEMAND SIDE”

WHAT EDITORS TALK ABOUT WHEN THEY TALK ABOUT EDITORS? AN ANALYSIS OF PUBLIC INTERVIEWS SEARCHING FOR MARKET AND AESTHETIC LOGICS

By Luca Pareschi and Maria Lusiani

The supposed conflict between aesthetic values and market logics has long been heating the debate among scholars in the cultural and creative industries: while over time researchers provided a more nuanced picture of the market-aesthetic logics tension, able to go beyond a prosaic conflict between the two extremes, some questions remain open. In this work we try to understand how editors in the publishing industry deal with market and aesthetic logics when they are interviewed regarding their work. Also, we address the organizational characteristics that may affect the editors’ discourses.

Continue reading “WHAT EDITORS TALK ABOUT WHEN THEY TALK ABOUT EDITORS? AN ANALYSIS OF PUBLIC INTERVIEWS SEARCHING FOR MARKET AND AESTHETIC LOGICS”

REPORT FROM BROOKLYN ON THE POLITICAL ECONOMY OF ART DURING CORONAVIRUS TIME

By Cameron Weber

In Weber (2017), I introduce the category “art statism” to describe when the state, as defined by Max Weber (1919), uses public art to gain, maintain or grow its discretionary power. In this blog I share a personal story taking place during coronavirus-time in New York City, centered around the Brooklyn Museum and this highly-divisive time in American politics, to illustrate an on-the-ground example of art-statism.

Continue reading “REPORT FROM BROOKLYN ON THE POLITICAL ECONOMY OF ART DURING CORONAVIRUS TIME”

TOOLS FOR THE FUTURE IN LJUBLJANA, RESEARCHING ART MARKETS AND GLOBAL SCIENTIFIC “ONLINE” TURMOIL

By Andrej Srakar

Beginning of September was time for the fifth workshop in the series Tools for the Future: Researching Art Market Practices from Past to Present. The workshop took place online in organization of the France Stele Institute of Art History of the Research Centre of the Slovenian Academy of Sciences and Arts (ZRC SAZU). Its topic was the role of legislation and legal regulators in the art market and included some of the best researchers on art markets at the intersection of art history, legal studies and cultural economics.

Continue reading “TOOLS FOR THE FUTURE IN LJUBLJANA, RESEARCHING ART MARKETS AND GLOBAL SCIENTIFIC “ONLINE” TURMOIL”

DIGITAL PIRACY AND THE PERCEPTION OF PRICE FAIRNESS: EVIDENCE FROM A FIELD EXPERIMENT

By Anna Kukla‑Gryz, Joanna Tyrowicz, Michał Krawczyk

Digital piracy is an interesting case of an extremely common activity with a rather shady ethical and legal status. One way of understanding this paradox is in terms of numerous justifications for downloading files from unauthorized sources. Maybe the most commonly heard argument is that the original products are unfairly priced. Does unfair price really drive an easy-going approach to digital piracy?

Continue reading “DIGITAL PIRACY AND THE PERCEPTION OF PRICE FAIRNESS: EVIDENCE FROM A FIELD EXPERIMENT”

TESTING THE CULTURAL CAPITAL REPRODUCTION THEORY IN COLOMBIA

By Nora Elena Espinal-Monsalve, Andrey David Ramos-Ramírez y Luz Yadira Gómez-Hernández

Nora.JPG

The relationship between cultural reproduction and cultural consumption can be framed from the theory of social reproduction of Bourdieu (1986) to the theories of cultural omnivorousness (Peterson, Simkus, and Kern, 1996) and individualization (Bauman (2007). Greater participation in cultural activities generates employment, economic growth, and increases the perception of the quality of life. As such, understanding the extent to which it is an inherited behaviour from parents, is a fundamental policy issue to reduce participation gaps among different demographics. Continue reading “TESTING THE CULTURAL CAPITAL REPRODUCTION THEORY IN COLOMBIA”

Blog at WordPress.com.

Up ↑