Emerging contemporary artists A comparative study of Ertibil Bizkaia and Arteshop Bilbao
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Argitaratua
2017-12-20
Arturo Cancio Ferruz
Jabier Martínez López
http://orcid.org/0000-0002-1141-3869
Jabier Martínez López
Laburpena
Ertibil Bizkaia and Arteshop Bilbao are two publicly financed institutional calls for the promotion of emerging artists in the context of the Basque Country, with both distinct and similar characteristics. In this paper, we examine the regulations that base the functioning of these calls to analyse the distribution of the budgets both programmes allocate to compensate for the work of the participant artists, during the period from 2012 and 2016. We also pay attention to the results of the competitive tenders of the artists in terms of concurrence and participation. The results confirm the main features of Thorsby's theory of artists' work preference (1994) and Frank and Cook's (1995) theory of winner-take-all markets.
Nola aipatu
Cancio Ferruz, Arturo, eta Jabier Martínez López. 2017. «Emerging Contemporary Artists: A Comparative Study of Ertibil Bizkaia and Arteshop Bilbao». AusArt 5 (2). https://doi.org/10.1387/ausart.18771.
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Rengers, Merijn. 2002. "Economic lives of artists: Studies into careers and the labour market in the cultural sector". Doctoral dissertation, Utrecht University
Romo Guijarro, José Angel 1999. "El Museo Guggenheim, Bilbao y la identidad de los vascos". Thémata 23: 215-21
Rosen, Sherwin. 1996. Book review: The winner-take-all society by Robert H. Frank & Philip J. Cook. Journal of Economic Literature 34: 133-6
Throsby, David. 1994. "A work-preference model of artist behavior". In Cultural economics and cultural policies, edited by Alan Peacock & Ilde Rizzo, 69-80. Dordrecht: Kluwer
Yencken, David. 1988. "The creative city". Meanjin 47(4): 597-608
Zorloni, Alessia. 2013. The economics of contemporary art: Markets, strategies and stardom. Berlin: Springer
Frank, Robert H. & Philip J. Cook. 1995. The winner-take-all society. New York: Penguin
Florida, Richard L. 2002. The rise of the creative class, and How it is transforming work, leisure, community and everyday life. New York: Basic Books
Groys, Boris. 2002. "The artist as consumer". In Shopping: a century of art and consumer culture, edited by Christoph Grunenberg and Max Hollein. Ostfildern-Ruit: Hatje Cantz
Horkheimer, Max & Theodor W. Adorno. [1944] 1947. Dialektik der Aufklärung. Amsterdam: Querido
Landry, Charles & Franco Bianchini. 1995. The creative city. London: Demos
Landry, Charles. 2005. "Lineages of the creative city". In Creativity and the City, Creativity and the city: How the creative economy changes the city, edited by Simon Franke and Evert Verhagen. Rotterdam: Netherlands Architecture Institute
Plaza Inchausti, María Beatriz. 1999. "The Guggenheim-Bilbao museum effect". International Journal of Urban and Regional Research 233: 589-92
Plaza Inchausti, María Beatriz, Manuel Tironi & Silke N. Haarich. 2009. "Bilbao's art scene and the 'Guggenheim effect' revisited". European Planning Studies 17: 1711-29
Ramírez Domínguez, Juan Antonio. 2010. "El arte no es el capital: Arte y economía". In El sistema del arte en España, J.A. Ramírez, ed. Madrid: Cátedra
Rengers, Merijn. 2002. "Economic lives of artists: Studies into careers and the labour market in the cultural sector". Doctoral dissertation, Utrecht University
Romo Guijarro, José Angel 1999. "El Museo Guggenheim, Bilbao y la identidad de los vascos". Thémata 23: 215-21
Rosen, Sherwin. 1996. Book review: The winner-take-all society by Robert H. Frank & Philip J. Cook. Journal of Economic Literature 34: 133-6
Throsby, David. 1994. "A work-preference model of artist behavior". In Cultural economics and cultural policies, edited by Alan Peacock & Ilde Rizzo, 69-80. Dordrecht: Kluwer
Yencken, David. 1988. "The creative city". Meanjin 47(4): 597-608
Zorloni, Alessia. 2013. The economics of contemporary art: Markets, strategies and stardom. Berlin: Springer
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