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Why women succeed, and fail, in the arts

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  • Tyler Cowen

Abstract

I examine and test hypotheses for the differential performance of men and women in the arts. I consider whether observed outcomes are best accounted for by differing innate and genetic endowments across the sexes, variations in training opportunities, maternal responsibilities, or discrimination in the marketplace. More generally, I also consider how social mechanisms can give rise to observed patterns of unequal achievement. Copyright Kluwer Academic Publishers 1996

Suggested Citation

  • Tyler Cowen, 1996. "Why women succeed, and fail, in the arts," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 20(2), pages 93-113, June.
    • Handle: RePEc:kap:jculte:v:20:y:1996:i:2:p:93-113
    DOI: 10.1007/s10824-005-3113-8
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    Citations

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    Cited by:

    1. Karol Jan Borowiecki & Martin Hørlyk Kristensen & Marc T. Law, 2024. "Where are the Female Composers? Evidence on the Extent and Causes of Gender Inequality in Music History," Working Papers 0252, European Historical Economics Society (EHES).
    2. Renée B Adams & Roman Kräussl & Marco Navone & Patrick Verwijmeren & Stijn Van Nieuwerburgh, 2021. "Gendered Prices [Can culture affect prices? A cross-cultural study of shopping and retail prices]," The Review of Financial Studies, Society for Financial Studies, vol. 34(8), pages 3789-3839.
      • Renée B Adams & Roman Kräussl & Marco Navone & Patrick Verwijmeren, 2021. "Gendered Prices," Published Paper Series 2021-4, Finance Discipline Group, UTS Business School, University of Technology, Sydney.
    3. Ian C. Strachan, 2014. "Female Artists and the Digitization of Labor in the Music Industry," Business and Management Research, Business and Management Research, Sciedu Press, vol. 3(4), pages 51-60, December.
    4. Claire Dupin Beyssat & Diana Seave Greenwald & Kim Oosterlinck, 2023. "Measuring nepotism and sexism in artistic recognition: the awarding of medals at the Paris Salon, 1850–1880," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 47(3), pages 407-436, September.
    5. Maria Marchenko & Hendrik Sonnabend, 2022. "Artists' labour market and gender: Evidence from German visual artists," Kyklos, Wiley Blackwell, vol. 75(3), pages 456-471, August.
    6. Andrea Mangani, 2021. "Media bias against women in music: an empirical analysis of Italian music magazines," Economia Politica: Journal of Analytical and Institutional Economics, Springer;Fondazione Edison, vol. 38(2), pages 657-676, July.
    7. Adams, Renée & Kräussl, Roman & Navone, Marco & Verwijmeren, Patrick, 2018. "Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices," CFS Working Paper Series 595, Center for Financial Studies (CFS).
    8. Françoise Benhamou, 2011. "Artists’ Labour Markets," Chapters, in: Ruth Towse (ed.), A Handbook of Cultural Economics, Second Edition, chapter 7, Edward Elgar Publishing.
    9. Abigail LeBlanc & Stephen Sheppard, 2022. "Women artists: gender, ethnicity, origin and contemporary prices," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 46(3), pages 439-481, September.
    10. Vecco, Marilena & Prieto-Rodriguez, Juan & Teerink, Simone, 2024. "Climbing the ladder? The gender gap in art prices across artists’ cohorts in the Dutch art market," European Economic Review, Elsevier, vol. 163(C).
    11. Hoffmann, Robert & Coate, Bronwyn, 2022. "Fame, What’s your name? quasi and statistical gender discrimination in an art valuation experimentc," Journal of Economic Behavior & Organization, Elsevier, vol. 202(C), pages 184-197.

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