The internet has changed how we produce and consume literature, visual art and performances of all kinds. How should cultural economists be modeling the market for cultural goods? What are the policy implications of choosing one model over another? How can these tools be used to advocate for artists and art-lovers?
Donald Sassoon, Professor of Contemporary European History and Leverhulme Major Research Fellow, Queen Mary, University of London
View the paper: "On Cultural Markets"
Harrison C. White, Giddings Professor of Sociology, Columbia University
View the paper: "Inventory Of Dynamics In Art Markets"