In this comparative study, European policies and models of government support and regulation related to fundraising and philanthropic activities towards museums were mapped out. Results are particularly salient in view of increased corporate penetration into the museum sector. Analysis tackles ethical issues surrounding state funding, public subsidy and private sponsorship by companies which stirs tensions between museums and their constituent communities.Continue reading “COMPARATIVE STUDY OF EUROPEAN POLICIES FOR ETHICAL MUSEUM FUNDRAISING“
The European Workshop on Applied Cultural Economics (EWACE) returns to northern Italy to celebrate its 10th anniversary. Originally organised by Roberto Zanola (University of Eastern Piedmont) and Antonello Eugenio Scorcu (University of Bologna), this time taking place in Torino University 8 – 10 September 2022. Over 50 presentations, increasingly with multiple authors and with a balanced gender representation, evidence an active, creative, and engaged community of specialized economists worldwide.Continue reading “10th EWACE 2022: CELEBRATING GROWTH AND DIVERSITY”
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.
By Ana Flávia Machado, Débora Freire, Rodrigo Cavalcante Michel, Gabriel Vaz de Melo, and Alice Demattos Guimarães
The Covid-19 global pandemic has drastically changed routines in worldwide. Given the high capacity of this virus reproduction, the most effective measure is social isolation. In this context, certain economic activities which are based on consumption outside the home and shared with other individuals, i.e.: sessions in movie theatres, live performances (theatre, dance, concerts, etc.), visits to galleries and museums, are and will be significantly affected by the current pandemic. Therefore, our objective is to discuss the Brazilian cultural sector, projecting the impacts of the shutdown of cultural activities outside home in both the cultural sector and broadly in the economy. Continue reading “EFFECTS OF COVID-19 IN BRAZILIAN CULTURAL ECONOMICS”
By Hans Abbing
Respect for art is high, also among those who do not consume serious art, though subsidy cuts testify of a decreasing respect for the “serious arts”. In spite of cuts, the so-called “excellent art”, like the very costly performances of certain high-end opera companies, continues to receive much public support —support of which almost exclusively well-to-do people profit. The performances are sometimes innovative, but not more than most of the less costly performances.
By Karol Jan Borowiecki and Trilce Navarrete
One of the available and yet controversial tools in cultural policy at the national level is the reduction of VAT rates for cultural goods and services. We document the standard and reduced VAT rates in EU-28 countries in the period from 1993 to 2013 and explore the underlying determinants. We also show and estimate the exact positive effect of a fiscal rate reduction on the book expenditure.