Trends In Artist Occupations 1970 1990

This report examines the characteristics of the artist population in 1990 and compares them to the 1980 and 1970 census results. Artist occupations selected for study include: actors and directors; announcers; architects; authors; dancers; designers; musicians and composers; painters, sculptors, craft-artists, and artist printmakers; photographers; teachers of art, drama and music in higher education; and artists, performers, and related workers not classified elsewhere. The study examines: (1) "Growth in the Artist Work Force"; (2) "Geographic Trends"; (3) "Demographic Trends"; (4) "Trends Among Women and Minority Artists"; (5) "Age Trends"; (6) "Education Trends"; (7) "Full Time Work Last Year"; (8) "Earnings Trends"; and (9) "Occupation Profiles." Findings indicate that very significant changes have occurred over the target time period. Artists have become more geographically diverse over the two decades. Growth among artist occupations has substantially outdistanced that for the labor force as a whole and for all professional occupations, of which artists account for about one-tenth. Incomes for artists, however, lag significantly behind those for other professionals of equal education and training. The report includes extensive tables and graphs of statistical information. (MM)

This report examines the characteristics of the artist population in 1990 and compares them to the 1980 and 1970 census results. Artist occupations selected for study include: actors and directors; announcers; architects; authors; dancers; designers; musicians and composers; painters, sculptors, craft-artists, and artist printmakers; photographers; teachers of art, drama and music in higher education; and artists, performers, and related workers not classified elsewhere. The study examines: (1) "Growth in the Artist Work Force"; (2) "Geographic Trends"; (3) "Demographic Trends"; (4) "Trends Among Women and Minority Artists"; (5) "Age Trends"; (6) "Education Trends"; (7) "Full Time Work Last Year"; (8) "Earnings Trends"; and (9) "Occupation Profiles." Findings indicate that very significant changes have occurred over the target time period. Artists have become more geographically diverse over the two decades. Growth among artist occupations has substantially outdistanced that for the labor force as a whole and for all professional occupations, of which artists account for about one-tenth. Incomes for artists, however, lag significantly behind those for other professionals of equal education and training. The report includes extensive tables and graphs of statistical information. (MM)

Despite its size, quality, and economic impact, the arts community is not articulate about how they serve public interests, and few citizens have an appreciation of the myriad of public policies that influence American arts and culture. The contributors to this volume argue that U.S. policy can--and should--support the arts and that the arts, in turn serve a broad rather than an elite public. By encouraging policy-makers to systematically start investigating the crucial role and importance of all of the arts in the United States, The Arts and Public Purpose moves the field forward with fresh ideas, new concepts, and important new data.

Over the last 30 or 40 years a substantial literature has grown up in which the tools of economic theory and analysis have been applied to problems in the arts and culture. Economists who have surveyed the field generally locate the origins of contemporary cultural economics as being in 1966, the year of publication of the first major work in modern times dedicated specifically to the economics of the arts. It was a book by Baumol and Bowen which showed that economic analysis could illuminate the supply of and demand for artistic services, the contribution of the arts sector to the economy, and the role of public policy. Following the appearance of the Baumol and Bowen work, interest in the economics of the arts grew steadily, embracing areas such as demand for the arts, the economic functions of artists, the role of the nonprofit sector, and other areas. Cultural economics also expanded to include the cultural or entertainment industries (the media, movies, the publishing industry, popular music), as well as heritage and museum management, property right questions (in particular copyright) and the role of new communication technologies such as the internet. The field is therefore located at the crossroads of several disciplines: economics and management, but also art history, art philosophy, sociology and law. The Handbook is placed firmly in economics, but it also builds bridges across these various disciplines and will thus be of interest to researchers in all these different fields, as well as to those who are engaged in cultural policy issues and the role of culture in the development of our societies. *Presents an overview of the history of art markets *Addresses the value of art and consumer behavior toward acquiring art *Examines the effect of art on economies of developed and developing countries around the world

Met lit. opg. - Met reg. Case study of the St. Louis art market. The author has interviewed the local artists, dealers and collectors.