Women and men in couples enjoy shared leisure activities. When their preferences are not aligned, they implicitly (or explicitly) bargain over their arts consumption. The more influential a woman is within the couple, the more both partners consume high culture in a way that matches female singles’ preferences.Continue reading “BARGAINING OVER THE BALLET”
The great Italian sculptor Michelangelo has allegedly once said, “Every block of stone has a statue inside, and it is the task of the sculptor to discover it.” We have always believed that only humans held the incredible skill of imagining and creating art, as if it represented a form of self-expression unique to our own specie. However, this perspective has changed.
The recent urban experience reveals the growing importance of commons as a complex and often conflictual phenomenon where shared cultural practices are being developed within a responsible management of urban areas. In such intensive dynamics, the conventional binary between private and public interests leaves an undefined space for collective views and actions, whose definition and analysis calls for a multidisciplinary approach: economic, legal, sociological, architectural toolboxes need to establish a multifold dialogue, in order for interpretations of cultural commons and urban dynamics to generate consistent guidelines for urban policy and governance.Continue reading “CULTURAL COMMONS AND URBAN DYNAMICS: A MULTIDISCIPLINARY PERSPECTIVE”
In the current health and economic crisis triggered by Covid-19, the future of museums is facing a major financial challenge, a challenge that has appeared when the echoes of the previous crisis are still ringing. Indeed, this crisis has reopened the debate over museum funding.Continue reading “MUSEUM FUNDING IN TIMES OF COVID-19 CRISIS”
Museums have experienced great changes over the past years. The weight attributed to traditional functions (collection, conservation, research and exhibition), and the way in which these functions are perceived, have been changing. Complementary services have been gaining importance, contributing to enlarge the audience and to lead visitors into “edutainment” experiences. In Italy, we find significant spatial effects (i.e., influence from the neighbours) in the provision of complementary services by museums. However, their relevance is different for public and private museums, and across types of service. From these pieces of evidence, we can learn something about the nature of competition among museums in Italy.Continue reading “DO ITALIAN MUSEUMS REALLY COMPETE IN SERVICES?”
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.