Advertisement

Journal of Economics and Finance

, Volume 31, Issue 3, pp 395–402 | Cite as

Preferred work patterns of creative artists

  • David Throsby
Arts and Culture Symposium

Abstract

Recent research has highlighted ways in which the labour market behaviour of artists differs from the predictions of conventional theory. This paper considers one particular aspect of artists’ labour supply, i.e. the extent to which preferred time allocations to creative work can be realised, given the multiple job-holding and other characteristics of artists’ working arrangements. It is suggested that greater financial security and the accumulation of human capital are likely to be associated with increased ability to achieve equilibrium between desired and actual labour supply to the market for creative work. These propositions are tested empirically using data from a recent survey of practising professional artists in Australia.

Keywords

Labour Supply Creative Industry Cultural Economic Human Capital Variable Labour Supply Decision 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

References

  1. Abbing, H. 2002.Why Are Artists Poor? The Exceptional Economy of the Arts. Amsterdam: Amsterdam University Press.Google Scholar
  2. Alper, N.O. and G. H. Wassail. 2006. “Artists’ Careers and Their Labor Markets.” in Ginsburgh and Throsby (eds) 2006.Google Scholar
  3. Benhamou, F. 2000. “The Opposition between Two Models of Labour Market Adjustment: The Case of Audiovisual and Performing Arts Activities in France and Great Britain over a Ten Year Period.”Journal of Cultural Economics 24: 301–319.CrossRefGoogle Scholar
  4. Caves, R.E. 2000.Creative Industries: Contracts between Art and Commerce. Cambridge: Harvard University Press.Google Scholar
  5. Cowen, T. and A. Tabarrok. 2000. “An Economic Theory of Avant-Garde and Popular Art, or High and Low Culture.”Southern Economic Journal 67: 232–253.CrossRefGoogle Scholar
  6. Filer, R.K. 1989. “The Economic Condition of Artists in America.” in D. V. Shaw et al. (eds.), 1989.Cultural Economics 88: An American Perspective. Akron: Association for Cultural Economics.Google Scholar
  7. Ginsburgh, V. and D. Throsby (eds.) 2006.Handbook of the Economics of Art and Culture. Amsterdam: Elsevier/North Holland.Google Scholar
  8. Heikkinen, M. 1995. “Evaluating the Effects of Direct Support on the Economic Situation of Artists.”Journal of Cultural Economics 19: 261–271.CrossRefGoogle Scholar
  9. Jeffri, J. and R. Greenblatt. 1998.Information on Artists: A Study of Artists’ Work-Related Human and Social Service Needs in Four U.S. Locations. New York: Research Center for Arts and Culture, Columbia University.Google Scholar
  10. Karhunen, P. (1998), “Labour Market Situation of Graduated Artists.” in M. Heikkinen and T. Koskinen (eds.),Economics of Artists and Arts Policy. Helsinki: Arts Council of Finland.Google Scholar
  11. Menger, P.M. 2006. “Artistic Labor Markets: Contingent Work, Excess Supply and Occupational Risk Management.” in Ginsburgh and Throsby (eds.) 2006.Google Scholar
  12. Rengers, M. 2002.Economic Lives of Artists: Studies into Careers and the Labour Market in the Cultural Sector. Utrecht: Utrecht University, Interuniversity Center for Social Science Theory and Methodology.Google Scholar
  13. Robinson, M.D. and S.S. Montgomery. 2000. “The Time Allocation and Earnings of Artists.”Industrial Relations 39: 525–534.CrossRefGoogle Scholar
  14. Throsby, D. 1992. “Artists as Workers.” in Towse and Khakee (eds.)Cultural Economics. Heidelberg: Springer-Verlag.Google Scholar
  15. Throsby, D. 1994a. “A Work-Preference Model of Artist Behaviour.” in A. Peacock and I. Rizzo (eds.) 1994.Cultural Economics and Cultural Policies. Dordrecht: Kluwer Academic Publishers.Google Scholar
  16. Throsby, D. 1994b. “The Production and Consumption of the Arts: A View of Cultural Economics.”Journal of Economic Literature 32: 1–29.Google Scholar
  17. Throsby, D. 1996. “Disaggregated Earnings Functions for Artists.” in V. Ginsburgh and P.M. Menger (eds.) 1996.Economics of the Arts: Selected Essays. Amsterdam: North Holland.Google Scholar
  18. Throsby, D. and V. Hollister. 2003.Don’t Give Up Your Day Job: An Economic Study of Professional Artists in Australia. Sydney: Australia Council.Google Scholar
  19. Towse, R. and A. Khakee (eds.), 1992.Cultural Economics. Heidelberg: Springer-Verlag.Google Scholar
  20. Towse, R. 2006. “Human Capital and Artists’ Labour Markets.” in Ginsburgh and Throsby (eds.) Amsterdam: Elsevier/North Holland.Google Scholar
  21. Wassail, G.H. and N.O. Alper. 1992. “Towards a Unified Theory of the Determinants of the Earnings of Artists.” in Towse and Khakee (eds.) 1992.Google Scholar

Copyright information

© Springer 2007

Authors and Affiliations

  1. 1.Macquarie UniversitySydneyAustralia

Personalised recommendations