Americans for the Arts

Special supplement to the Journal of Cultural Economics. Selected papers presented at the conference L'economie du Spectacle Vivant et L'audiovisual, Paris, France, October 15-16, 1985. My variations of this theme of resource allocation begins with a commentary on the cost disease thesis which, as Hilda and Will Baumol remind us, is often misunderstood.

Special supplement to the Journal of Cultural Economics. Selected papers presented at the conference L'economie du Spectacle Vivant et L'audiovisual, Paris, France, October 15-16, 1985.

Since 1982, the Research Division has reported on annual admission expenditures for the performing arts and two other types of admission expenditures: motion picture theatres and spectator sporting events based on data from the Bureau of Economic Analysis.

Since 1982, the Research Division has reported on annual admission expenditures for the performing arts and two other types of admission expenditures, motion picture theatres and spectator sporting events, based on data from the Bureau of Economic Analysis.

Set in the context of Pittsburgh, Pennsylvania, the former steel capital of the , this paper explores the potential for a renewed civic or democratic dialogue on a specific brownfield development site.

Selected papers presented at Second Annual International Conference on Cultural Economics and Planning, sponsored by the Association for Cultural Economics, Mastricht, Holland, May 26-28, 1982. This volume brings together a wide range of papers concerning economic aspects of cultural decisions. The four parts of the book involve government decisions, decisions by nonprofit arts providers, decisions of private sector producers, and consumer decisions about cultural goods. In the collection of essays, the text uses a wide definition of culture and includes not only the performing arts but

Small and rural communities across the country continue to face drastic population shifts and economic upheaval. Many efforts are underway in these areas to create and implement economic revitalization strategies. In analyzing resources, strengths, and needs, communities are increasingly seeing the potential of their existing creative economies ﾝsectors of the economy that include arts, culture and heritage organizations, businesses, and workers ﾝas strong revenue, employment, and quality of life generators, or "creative industries."

The National Bureau of Economic Research [NBER] organized a project to explore the economic issues facing the major art museums of the . For this purpose we defined economics broadly to include not only the finanical situation of the museums but also the management and growth of museum collections, the museums' relationship with the public, and the role of the government in supporting art museums. This volume brings together nontechnical essays on these issues by economists associated with the NBER and personal statements by leaders of our major national art museums and related foundations.

The legitimate theatre in the is a very small industry. Variety's statistician, Hobe Morrison, estimates that the theatre grossed $52,498,600 in 1950-51, Broadway accounting for $28,840,700 of the total. But if the theatre is small, some of its problems are very special; one of these, the degree of financial risk in the theatre, is the problem of my dissertation.

The following figures represent the very best and most accurate information available on professional resident nonprofit theatre, opera, dance (ballet and modern), symphony orchestras, and museums (art, history and science). These are figures that reflect the condition of America's major institutions of the traditional arts.

The Economy of the Arts: Managing the Growth of Cultural Industries conference was held in Temple Bar, Dublin, December 1-3, 1994. The conference set itself the task of addressing the state of the European cultural economy and the programme was organized into plenary and concurrent sessions spread over two and a half days.

The Cultural Policy Center (CPC) at The University of Chicago convened Lasting Effects: Assessing the Future of Economic Impact Analysis of the Arts, a three day conference that examined benefits and pitfalls of using economic impact analysis (EIA) as a tool for arts advocacy.

The Cultural Assistance Center was formed in New York City in 1976. Its aim is to help the city's cultural institutions, both by increasing public understanding of these institutions and their problems and by providing institutions with specific services.

The central purpose of this study is to explain the financial problems of the performing groups and to explore the implications of these problems for the future of the arts in the . Our data encompass a variety of sub-topics. The main focus of our research was the cost and revenue structures of the performing groups; thus the bulk of our efforts was devoted to the accumulation of records of costs, ticket sales, revenues and contributions from other sources.

The book is divided into three parts. The first consists of general and theoretical discussion of the performing arts industry. The second part provides detailed empirical information on the industry assistance. Policy issues and matters of arts administration are discussed in part 3. Within each part of the book the chapters are divided into two sections: the first section outlines in clear non-technical language the major economic dimensions of the topic, and the second section usually smaller, presents and develops formal economic analysis of particular issues that benefit from such