Complete bibliography


This is a complete Bibliography. Literature in the published text, the web-notes on this website and the web-texts on this website is included.

(Last updated 12-12-2019)


Abbing, H. (2002).​​ Why Are Artists Poor? The Exceptional Economy of the Arts.​​ Amsterdam: Amsterdam University Press.

Abbing, H. (2006).​​ From High Art to New Art. Amsterdam: Vossius Pers (Amsterdam University Press).

Abbing, H. (2009).​​ Van Hoge naar Nieuwe Kunst. Groningen: Historische Uitgeverij.

Abbing, H. (2014a).​​ Inner Art World Exploitation of Artists. Presented at the Yearly conference of Seoul Foundation for Arts and Culture, Seoul, Korea. Retrieved from

Abbing, H. (2014b). Notes on the Exploitation of Artists. In​​ Joy Forever: The Political Economy of Social Creativity. MayFlyBooks (also available as pdf).

Abbott, A. (1991). The order of professionalization: An empirical analysis.​​ Work and​​  Occupations,​​ 18(4), 307–336.

Accominotti, F., Khan, S. R., & Storer, A. (2018). How Cultural Capital Emerged in Gilded Age America: Musical Purification and Cross-Class Inclusion at the New York Philharmonic.​​ American Journal of Sociology,​​ 123(6), 1743–1783.

Adams, R. B., Kräussl, R., Navone, M. A., & Verwijmeren, P. (2017).​​ Is Gender in the Eye of the Beholder? Identifying Cultural Attitudes with Art Auction Prices​​ (SSRN Scholarly Paper No. ID 3083500). Retrieved from Social Science Research Network website:

Adler, M. (1985). Stardom and Talent.​​ American Economic Review,​​ 75, 208–212.

Adler, M. (2006). Stardom and Talent. In V. A. Ginsburgh & D. Throsby (Eds.),​​ Handbook of the Economics of Art and Culture. Amsterdam a.o.: North-Holland.

Adorno, Theodor. W., & Horkheimer, M. (1991). The Culture Industry: Enlightenment as Mass Deception. In Th. W. Adorno & J. M. Bernstein (Eds.),​​ The Culture Industry. Selected Essays on Mass Culture.​​ London: Routledge.

Alexander, V. D. (2003).​​ Sociology of the Arts. Exploring Fine and Popular Forms. Malden etc: Blackwell Publishing.

Alper, N. O., & Wassall, G. H. (2000).​​ More Than Once in a Blue Moon: Multiple Jobholdings by American Artists.​​ Washington, DC: National Endowment for the Arts.

Alper, N. O., & Wassall, G. H. (2006). Artists’ Careers and Their Labor Markets. In V. A. Ginsburgh & D. Throsby (Eds.),​​ Handbook of the Economics of Art and Culture​​ (pp. 813–864). Amsterdam a.o.: North-Holland.

Alper, N., Wassal, G., Jeffri, J., Greenblatt, R., Kay, A., & al., ​​ et.​​ (1996).​​ Artists in the Work Force: Employment and Earnings 1970-1990. Santa Anna: National Endowment for the arts; Seven Locks Press.

Anderson, B. (1991).​​ Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso.

Appadurai, A. (1996).​​ Modernity at Large: Cultural Dimensions of Globalization. Minneapolis London: University of Minnesota Press.

Arian, E. (1971).​​ Bach, Beethoven, and Bureaucracy: The Case of the Philadelphia Orchestra​​ (1st edition). University, Ala: The University of Alabama Press.

Arora, P., & Vermeylen, F. (2013). The End of the Art Connoisseur? Experts and Knowledge Production in the Visual Arts in the Digital Age.​​ Information, Communication & Society,​​ 16(2), 194–214.

Bakhshi, H., & Throsby, D. (2012). New technologies in cultural institutions: Theory, evidence and policy implications.​​ International Journal of Cultural Policy,​​ 18(2), 205–222.

Baumann, S. (2001). Intellectualization and Art World Development: Film in the United States.​​ American Sociological Review,​​ 66(3), 404–426.

Baumol, W. J. (1993). Health care, education and the cost disease: A Looming crisis for public choice.​​ Public Choice,​​ 77, 17–28.

Baumol, W. J. (1997).​​ Public Support for the Arts: Why and Wherefore. Washington: President’s Committee on the Arts and the Humanities.

Baumol, W. J., & Bowen, W. G. (1966).​​ Performing Arts. The Economic Dilemma. New York: The Twentieth Century Fund.

Becker, H. S. (1982).​​ Art Worlds.​​ Berkeley, University of California Press.

Becker, H. S. (2006). The work itself. In​​ Art from Start to Finish. The University of Chicago Press.

Beech, D. (2015).​​ Art and Value: Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics. BRILL.

Benjamin, W. (1969). The work of Art in the Age of Mechanical Reproduction. In​​ Illuminations: Essays and Reflections. New York: Shocken books.

Bennett, T. (1995).​​ The Birth of the Museum: History, Theory, Politics. Routledge.

Benzecry, C., & Collins, R. (2014). The High of Cultural Experience: Toward a Microsociology of Cultural Consumption.​​ Sociological Theory,​​ 32(4), 307–326.

Bevers. (1990). Convergenties tussen Overheid, Markt en Kunstwereld.​​ Boekmancahier,​​ 2(3).

Bevers, A. M., Colenbrander, B., Heilbron, J., & Wilterdink, N. (2015).​​ Nederlandse kunst in de wereld: Literatuur, architectuur en beeldende kunst, 1980-2013. Nijmegen: Uitgeverij Vantilt.

Bickerdike, J. O. (2016).​​ The Secular Religion of Fandom: Pop Culture Pilgrim.

Bille, T., & Jensen.​​ (2016). Artistic education matters: Survival in the arts occupations.​​ Journal of Cultural Economics,​​ 42(1), 23–43.

Blanning, T. C. W. (1969). The commercialization and Sacralization of European Culture in the Nineteenth Century. In T. C. W. Blanning (Ed.),​​ The Oxford Illustrated History of Modern Europe. Oxford: Oxford University Press.

Blanning, T. C. W. (2008).​​ The Triumph of Music. The Rise of Composers, Musicians and their Art. Cambridge, Mass.: Belknap Press of Harvard University Press.

Blokland, H. (1997).​​ Freedom and Culture in Western Society. London: Routledge.

Bohme, G. (2017).​​ Critique of Aesthetic Capitalism. Milano; Udine: Mimesis International.

Boltanski, L. (2014). From Object to OEuvre. The Process of Attribution and Valorization of Objects. In​​ Joy Forever. MayFly Books.

Boltanski, L., & Chiapello, E. (2005).​​ The New Spirit of Capitalism. London, New York: Verso.

Boltanski, L., & Esquerre, A. (2016). The Economic Life of Things.​​ New Left Review, (98), 31–54.

Boltanski, L., & Thévenot, L. (1991).​​ On Justification. Economies of Worth. Princeton and Oxford: Princeton University Press.

Bourdieu, P. (1977). The Production of Belief: Contribution to an Economy of Symbolic Goods. In​​ The field of cultural production. Essays on art and literature. Edited by Randall Johnson. Oxford: Polity Press, 1992.

Bourdieu, P. (1983). The Field of Cultural Production, or: The Economic World Reversed.​​ Poetics, 311–356.

Bourdieu, P. (1984).​​ Distinction. A Social Critique of the Judgement of Taste. London: Routledge and Kegan Paul.

Bourdieu, P. (1993a).​​ The Field of Cultural Production: Essays on Art and Literature. Cambridge: Polity Press.

Bourdieu, P. (1993b).​​ The field of cultural production: Essays on art and literature.​​ Cambridge: Polity.

Broek, A. van, Huysman, F., & Haan, J. de. (2005).​​ Cultuurminnaars en Cultuurmijders. Den Haag: Sociaal en Cultureel Planbureau.

Brouwer, N., & Zijderveld, C. (2004).​​ De Markt voor Beeldende Kunst. De Markt en de Financiele Positie van Beeldend Kunstenaars 2001​​ (No.​​ SEO 682). Amsterdam: Stichting Economisch Onderzoek [Economic Reseach Institute of the University of Amsterdam].

Bryson, B. (1996). ‘Anything but heavy metal’: Symbolic exclusion and musical dislikes.​​ American Sociological Review,​​ 61, 884–899.

Campbell, C. (1987).​​ The Romantic Ethic and the Spirit of Modern Consumerism. Oxford: Blackwell.

Collins, R. (2005).​​ Interaction Ritual Chains. Princeton and Oxford: Princeton University Press.

Couldry, N. (2010).​​ Why Voice Matters: Culture and Politics After Neoliberalism. Sage.

Cowen, T. (1998).​​ In Praise of Commercial Culture. Cambridge, Mass.: Harvard University Press.

Cowen, T. (2002).​​ Creative Destruction: How Globalization is Changing the World’s Cultures. Princeton (NY): Princeton University Press.

Crane, D. (1976). Reward Systems in Art, Science, and Religion.​​ American Behavioral Scientist,​​ 19, 719–734.

Cyert, R. M., & March, J. G. (2013).​​ A Behavioral Theory of the Firm (1963). Mansfield Centre, Conn: Martino Fine Books.

Danto, Arthur C. (1964). The Artworld.​​ The Journal of Philosophy,​​ 61, 571–584.

Danto, Arthur Coleman. (1986).​​ The Philosophical Disenfranchisement of Works of Art. New York: Colombia University Press.

De Marchi, N., & Van Miegroet, H. J. (1996).​​ Mapping markets for paintings in Europe 1450-1750 / ed.​​ By Neil De Marchi & Hans J. Van Miegroet. Turnhout: Brepols.

Dekker, E. (2015).​​ Two approaches to study the value of art and culture, and the emergence of a third.​​ Journal of Cultural Economics,​​ 39, 309–326.

Dimaggio, P. (1982). Cultural Entrepreneurship in Nineteenth Century Boston: The Creation of an Organizational Base for High Culture in America.​​ Media, Culture and Society,​​ 4, 33–50.

DiMaggio, P. (1991). Social structure, institutions, and cultural goods: The case of the U.S. In P. Bourdieu & J. Coleman (Eds.),​​ Social theory for a changing society​​ (pp. 133–166). Boulder: Westview Press.

Dimaggio, Paul, & Useem, M. (1978). Social Class and Arts Consumption: The Origins and Consequences of Class Differences in Exposure to the Arts in America.​​ Theory and Society,​​ 5, 141-161W.

Dockx, N., & Gielen, P. (2018).​​ Exploring Commonism: A New Aesthetics of the Real. Amsterdam: Valiz/Antennae Series.

Dolfsma, W. (1999).​​ Valuing Pop Music. Institutions, Values and Economics.​​ Delft: Eburon.

Dool, J. van den. (2018).​​ Move to the music: Understanding the relationship between bodily interaction and the acquisition of musical knowledge and skills in music education. Retrieved from

Doorman, M. (2003).​​ Art in progress: A philosophical response to the end of the avant-garde.​​ Amsterdam: Amsterdam University Press.

Doorman, M. (2004).​​ De Romantische Orde. Amsterdam: Bert Bakker.

Dowd, T. J. (2004). Musical Diversity and the U.S. Mainstream Recording Market, 1955—1990.​​ ResearchGate,​​ 82(4), 1411–1455.

Dowd, T. J., Liddle, K., Lupo, K., & Borden, A. (2002). Organizing the musical canon: The repertoires of major U.S. symphony orchestras, 1842 to 1969.​​ Poetics,​​ 30(1), 35–61.

Dulken, H. van. (1988).​​ In ons Diaconale Land. Amsterdam: Boekmanstichting/Van Gennep.

Durkheim, E. (1965).​​ The Elementary Forms of Religious Life. New York: Free Press.

Dutton, D. (2003). Authenticity in Art. In J. Levinson (Ed.),​​ The Oxford Handbook of Aesthetics. New York: Oxford University Press.

Elias, N. (1994).​​ The Civilizing Process. Oxford: Blackwell, 1993.

Filer, R. K. (1987). The Price of Failure: Earnings of Former Artists. In D. V. Shaw, W. S. Hendon, & R. C. Waits (Eds.),​​ Markets for the Arts. Akron: Akron University Press.

Fine, G. A. (2018).​​ Talking Art: The Culture of Practice and the Practice of Culture in MFA Education​​ (First edition). Chicago and London: University of Chicago Press.

Finkelstein, D., & MacCleery, A. (2005).​​ An introduction to book history. New York [etc.]: Routledge.

Fiske, J. (2002). The Cultural Economy of Fandom. In​​ The Adoring Audience: Fan Culture and Popular Media.

Florida, R. (2014).​​ The Rise of the Creative Class--Revisited: Revised and Expanded​​ (1 edition). New York: Basic Books.

Forster, E. M. (2017).​​ A Room with a View. Publishing.

Fraiberger, S. P., Sinatra, R., Resch, M., Riedl, C., & Barabási, A.-L. (2018). Quantifying reputation and success in art.​​ Science 10.1126.

Frank, R. H., & Cook, P. J. (1995).​​ The Winner-Take-All Society. New York etc.: The Free Press.

Frey, B. S., & Pommerehne, W. (1989).​​ Muses and Markets. Explorations in the Economics of the Arts.​​ Oxford: Basil Blackwell.

Ganzeboom, H. B. G. (1989).​​ Cultuurdeelname in Nederland: Een empirisch-theoretisch onderzoek naar determinanten van deelname aan culturele activiteiten.​​ Assen: Van Gorcum.

Gay, P. (1995).​​ The Naked Heart. New York: Norton.

Giddens, A. (1991).​​ Modernity and Self-Identity, Self and Society in the Late Modern Age. Cambridge UK: Polity Press.

Gielen, P. (2010). The Art Institution in a Globalizing World,`.​​ The Journal of Arts Management, Law, and Society,​​ 40, 279–296.

Gilmore, & Pine II, B. J. (2007).​​ Authenticity: What Consumers Really Want.​​ Harvard Business Review Press.

Gilks, J. (2019). Gilks’s answer to Are you a fan of chamber opera? - Quora. Retrieved October 3, 2019, from, V. V. (2003).​​ The Letters of Vincent Van Gogh. Penguin UK.

Glaser, B. (2018). Bob Glaser’s answer to Do classical musicians believe that many recordings sound the same? - Quora. Retrieved October 9, 2019, from​​

Goldman, D. B. A. (2017).​​ On Every Wall: Reproduction and the Future of Art​​ (1 edition). CreateSpace Independent Publishing Platform.

Goodman, N. (1954).​​ Languages of Art, an Approach to a Theory of Symbols. London: Oxford University Press, 1968.

Grampp, W. D. (1989).​​ Pricing the Priceless. Art, Artists and Economics.​​ New York, Basic Books.

Hafferty, F. W., & Castellani, B. (2011). Two ships: The rise of a professionalism movement within modern medicine and medical sociology’s disappearance from the professionalism debate. In​​ Handbook of the sociology of health, illness, and healing​​ (pp. 201–219). New York: Springer.

Haines, R. E. (1982).​​ The Inner Eye of Alfred Stieglitz. University Press of America, Incorporated.

Halle, D. (1993).​​ Inside Culture, Art and Class in the American Home. Chicago: The University of Chicago Press.

Heath, C., & vom Lehn, D. (2004). Configuring Reception: (Dis-)Regarding the ‘Spectator’ in Museums and Galleries.​​ Theory, Culture & Society,​​ 21(6), 43–65.

Heilbrun, J. (2003). Baumol’s cost disease. In R. Towse (Ed.),​​ Handbook Cultural Economics. Cheltenham: Edgar Elgar.

Heilbrun, J., & Gray, C. M. (2001).​​ The Economics of Art and Culture. An American Perspective. Cambridge USA: Cambridge University Press.

Heinich, N. (2005).​​ L’Élite Artiste, Excellence et Singularité en Régime Démocratique. Paris: Gallimard.

Helguera, P. (2012).​​ Art Scenes. New York: Jorge Pinto Books Inc.

Hernstein Smith, B. (1988).​​ Contingencies of Value. Alternative Perspectives for Critical Theory. Cambridge Mas.: Cambridge University Press.

Hirst, D., & Burn, G. (2002).​​ On The Way to Work. Universe Publishing.

Hughes, C. (2011).​​ Liberal Democracy as the End of History: Fukuyama and Postmodern Challenges. Routledge.

Hütter, M., & Throsby, D. (2008).​​ Beyond Price. Value in Culture, Economics, and the Arts. New York: Cambridge University Press.

Iannacci, A. (2016).​​ Hollywood Interiors: Style and Design in Los Angeles. New York, New York: The Monacelli Press.

IJdens, T., Fuhr, S. von der, & Rooij, J. de.​​ (2009).​​ Pop, Wat Levert Het Op? Onderzoek naar de Inkomsten van Popmusici in Nederland. Tilburg: Ntb, bv Pop/FNV-Kiem, NORMA en SENA.

Jahoda, S., & others. (2014).​​ Artists Report Back, A National Study on the Lives of Arts Graduates and Working Artists. Retrieved from BFAMFAPhD website:

Karpik, L. (2010).​​ Valuing the unique: The economics of singularities / Lucien Karpik ; translated by Nora Scott. Princeton, NJ ; Princeton University Press,.

Keunen, G. (2015).​​ Alternative Mainstream: Making Choices in Pop Music. Amsterdam: Valiz/Antennae Series.

Kerrigan, F., Brownlie, D., Hewer, P., & Daza-LeTouze, C. (2011).​​ ‘Spinning’ Warhol: Celebrity brand theoretics and the logic of the celebrity brand.​​ Journal of Marketing Management,​​ 27(13–14), 1504–1524.

Klamer, A. (2016).​​ Doing the right thing. A value based economy.​​ London: Ubiquity Press.

Klamer, Arjo. (1996). The Value of Culture. In Arjo Klamer (Ed.),​​ The Value of Culture. Amsterdam: Amsterdam University Press.

Klamer, Arjo. (2011). Cultural Entrepreneurship.​​ Review of Austrian Economics,​​ 24, 121–156.

Klamer, Arjo, Langeveld, C., & Teule, P. (n.d.).​​ Pak aan. Retrieved from

Kolb, B. M. (2001).​​ The Effect of Generational Change on Classical music Concert Attendance and Orchestras’ Responses in the UK and US. London: Policy Studies Institute.

Laermans, R. (2009). Artistic Autonomy as Value and Practice. In P. Gielen & P. de Bruyne (Eds.),​​ Being an Artist in Post-Fordist Times​​ (pp. 125–137). Rotterdam: NAi Publishers.

Lamont, M., & Molnár, V. (2002). The Study of Boundaries in the Social Sciences.​​ Annual Review of Sociology,​​ 28, 167–195.

Lebrecht, N. (1996).​​ Who Killed Classical Music (title GB. edition: When the Music Stops). Secaucus, N.J. (London): Carol Publishing Group (Simon & Schuster Ltd.).

Lena, J. C. (2014).​​ Banding Together: How Communities Create Genres in Popular Music. Princeton, N.J.: Princeton University Press.

Lena, J. C., & Peterson, R. A. (2008). Classification as Culture: Types and Trajectories of Music Genres.​​ American Sociological Review,​​ 73, 697–718.

Levine, L. W. (1988).​​ Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge , Mass.: Harvard University Press.

Mahoney, J. (2000). Path Dependence in Historical Sociology.​​ Theory and Society,​​ 29(4), 507–548.

Martin, A. (1991).​​ Writings = Schriften / Agnes Martin ; ed. By Dieter Schwarz. Ostfildern: Cantz.

McCloskey, D. N. (2010).​​ Bourgeois Dignity: Why Economics Can’t Explain the Modern World. Chicago and London: The University of Chicago Press.

Mead, G. H. (1934).​​ Mind, Self and Society. Chicago: University of Chicago Press.

Mears, C. (2014, June 24). Shapes and Sounds: Designing concert halls with curves. Retrieved September 10, 2019, from Construction Specifier website:

Menger, P.-M. (2001). Artists as workers: Theoretical and methodological challenges.​​ Poetics,​​ 28(4), 241–254.

Menger, P.-M. (2006). Artistic Labor Markets: Contingent Work, Excess Supply and Occupational Risk Management. In V. A. Ginsburgh & D. Throsby (Eds.),​​ Handbook of the Economics of Art and Culture. Amsterdam a.o.: North-Holland.

Miller, D. (2005).​​ Materiality / ed. By Daniel Miller. Durham, NC [etc.: Duke University Press.

Mozart, W. A. (1866).​​ The Letters of Wolfgang Amadeus Mozart​​ (G. 2004 Wallace, Trans.). Retrieved from

Negus, K. (1999).​​ Music Genres and Corporate Cultures. London ; New York: Routledge.

Nietzsche, F. (1990).​​ Twilight of the Idols (Götzen-Dämmerung). London: Penguin Classics.

Oettermann, S. (1980).​​ Das Panorama; Die Geschichte eines Massenmediums.​​ Frankfurt am Main,.

O’Hagan, J. (1998).​​ The State and The Arts. An Analysis of Key Economic Policy Issues in Europe and the United States. Cheltenham: Edward Elgar.

O’Hagan, J., & Harvey, D. (2000). Why do Companies Sponsor Art Events? Some Evidence and a Proposed Classification.​​ Journal of Culural Economics,​​ 24, 205–224.

Original, Copy, Fake, On the significance of the object in History and Archaeology Museums. (2010).​​ 22nd ICOM General Conference. Presented at the Shanghai. Shanghai.

Oware, M. (2014). (Un)conscious (popular) underground: Restricted cultural production and underground rap music.​​ Poetics,​​ 42, 60–81.

Peacock, A. (1968). Performing Arts: The Economic Dilemma; Review.​​ Economica,​​ 35, 100–101.

Pearson, M. P., & Richards, C. (2003).​​ Architecture and Order: Approaches to Social Space. Routledge.

Peterson, R. A. (1997).​​ Creating Country Music. Fabricating Authenticity. Chicago etc.: The University of Chicago Press.

Peterson, R. A., & Simkus, A. (1992). How Musical Tastes Mark Occupational Status Groups. In Michele Lamont & M. Fournier (Eds.),​​ Cultivating Differencies​​ (p. 346). Chicago: The University of Chicago Press.

Peterson, R., & Berger, D. (1975). Cycles in Symbol Production: The Case of Popular Music.​​ American Sociological Review,​​ 40(6), 158.

Pine, B. J., & Gilmore, J. H. (2011).​​ The Experience Economy. Harvard Business Press.

Poecke, V., & N, N. (2017).​​ Authenticity Revisited: The production, distribution, and consumption of independent folk music in the Netherlands (1993-present). Retrieved from Dissertation.

Rapoport, A. (1982).​​ The Meaning of the Built Environment: A Nonverbal Communication Approach. University of Arizona Press.

Ren, J., & Fuller, M. (2019). The Art Opening: Proximity and Potentiality at Events.​​ Theory, Culture & Society, (0(0)), 1–18.

Rengers, M. (2002).​​ Economic Lives of Artists. Economic Lives of Artists: Studies into Careers and the Labour Market in the Cultural Sector. Doctoral Thesis. Utrecht University.

Republic, A. D., Dockx, N., Geys, J., Gielen, P., Hagoort, E., & Hirschhorn, T. (2016).​​ Mobile Autonomy: Exercises in Artists’ Self-Organization. Amsterdam: Valiz/Antennae Series.

Ritzer, G. (1999).​​ Enchanting a Disenchanted World: Revolutionizing the Means of Consumption. Thousand Oaks: Pine Forge Press.

Rosen, S. (1981). The Economics of Superstars.​​ American Economic Review,​​ 71, 845–858.

Røyseng, S., Mangset, P., & Borgen, J. S. (2007).​​ Young Artists and the Charismatic Myth.​​ International Journal of Cultural Policy,​​ 13(1), 1–16.

Schumpeter, J. A. (1934).​​ The Theory of Economic Development. Retrieved from

Schwartz, H. (2014).​​ The Culture of the Copy: Striking Likenesses, Unreasonable Facsimiles. MIT Press.

Sholette, G. (2011).​​ Dark Matter: Art and Politics in the Age of Enterprise Culture. London ; New York: Pluto Press.

Simmel, G. (1992).​​ Soziologie: Untersuchungen über die Formen der Vergesellschaftung. Frankfurt am Main: Suhrkamp.

Small, C. (1998).​​ Musicking. The meanings of Performing and Listening.​​ Middletown, Connecticut: Wesleyan University Press.

Smithuijsen, C. (2001).​​ Een Verbazende Stilte. Klassieke Muziek Gedragsregels en Sociale Controle in de Concertzaal.​​ Amsterdam: Boekmanstudies.

Solhjell, D. (2000). Poor Artists in a Welfare State: A Study in the Politics and Economics of Symbolic Rewards.​​ Cultural Policy,​​ 7, 319–354.

Stahl, G. (2017).​​ Essays In Social Philosophy.

Stallabras, J. (2004).​​ Art Incorporated: The Story of Contemporary Art. Oxford University Press.

Steiner, L., & Schneider, L. (2012).​​ The Happy Artist? An Empirical Application of the Work-Preference Model​​ (SSRN Scholarly Paper No. ID 2002724). Retrieved from Social Science Research Network website:

Steptoe, A. (1988).​​ The Mozart-DaPonte Operas. Oxford: Clarendon Press.

Stigler, G. J. (1945). [Review of​​ Review of The Economics of Control: Principles of Welfare Economics, by A. P. Lerner].​​ Political Science Quarterly,​​ 60(1), 113–115.

Swaan, A. de. (1986).​​ Kwaliteit is Klasse. De Sociale Wording en Werking van het Cultureel Smaakverschil.​​ Amsterdam: Bert Bakker.

Szreder, K. (2013). Cruel Economy of Authorshop. In M. Lewandoskwa & L. Ptak (Eds.),​​ Undoing Property?​​ Berlin: Sterberg Press.

Taylor, C. (1989).​​ Sources of the Self, The Making of the Modern Identity. Cambridge: Cambridge University Press.

Taylor, C. (1991).​​ The Malaise of Modernity. Cambridge: Harvard University Press. In 1192 the book was reprinted under the title The Ethics of Authenticity.

Taylor, D. M. (2013).​​ Musical Theatre, Realism and Entertainment. Ashgate Publishing, Ltd.

Thayer, A. W. (1964).​​ Thayer’s Life of Beethoven​​ (New ed.). Princeton: Princeton University Press.

Thornton, P. H., & W.Ocasio. (2008). Institutional Logics. In C. O. R.Greenwood R. Suddaby and K. Sahlin-Andersson (Ed.),​​ The Sage Publications of Organizational Institutionalism​​ (pp. 99–129).

Throsby, C. D. & W., G. A. (1983). Measuring the demand for the arts as a public good: Theory and empirical results. In J.L. Shanahan a.o. (Ed.),​​ Economic support for the arts.​​ Akron (Ohio),.

Throsby, D. (1994). A Work-Preference Model of Artist Behaviour. In A. Peacock & I. Rizzo (Eds.),​​ Cultural Economics and Cultural Policies. Dordrecht etc.: Kluwer Academic Publishers.

Throsby, D. (2002).​​ Economics and Culture. Cambridge UK: Cambridge University Press.

Tiryakian, E. A. (1992). Dialectics of Modernity. Reenchantment and Dedifferentiation as Counterprocesses. In H. Haferkamp & N. J. Smelse (Eds.),​​ Social Change and Modernity. University of California Press.

Towse, R. (1992). The Earnings of Singers: An Economic Analysis.​​ In R. Towse & A. Khakee (Eds.),​​ Cultural Economics​​ (pp. 209–217). Heidelberg: Springer-Verlag.

Towse, R. (2003). Opera. In​​ A Handbook of Cultural Economics​​ (pp. 342–348). Cheltenham, UK: Edward Elgar.

Towse, R. (2006). Human Capital and Artists’ Labour Markets. In V. A. Ginsburgh & D. Throsby (Eds.),​​ Handbook of the Economics of Art and Culture​​ (pp. 865–894). Amsterdam a.o.: North-Holland.

Vannini, P., & Franzese, A. (2008). The Authenticity of Self: Conceptualization, Personal Experience, and Practice.​​ Sociology Compass,​​ 2(5), 1621–1637.

Veld-Langeveld, H. M. (1961).​​ De sociale cultuurspreiding. In A. H. J. den Hollander, E. Hofstee, & J. A. A. van Doorn (Eds.),​​ Drift en Koers.​​ Assen,: Van Gorcum.

Velthuis, O. (2002).​​ Talking Prices. Contemporary Art on the Market in Amsterdam and New York. Unpublished Dissertation: Erasmus University Rotterdam.

Velthuis, O. (2005a).​​ Imaginary Economics. Contemporary Artists and the World of Big Money. Rotterdam: NAi Uitgevers.

Velthuis, O. (2005b).​​ Talking Prices. Symbolic meanings of prices on the market for contemporary art.​​ Princeton University Press.

Velthuis, O. (2012). Introduction. The contemporary art market between stasis and flux. In​​ Contemporary Art and Its Commercial Markets: A Report on Current Conditions and Future Scenarios. Berlin: Sternberg Press.

Velthuis, O. (2016). Are we in a new era of the art market? In​​ Art in the Periphery of the Center​​ (pp. 456–465). Berlin: Sternberg Press.

Vermeylen, F., & Van Dijck, M. (2013). The Test of Time: Art Encyclopedias and the Formation of the Canon of 17Th-Century Painters in the Low Countries.​​ Empirical Studies of the Arts,​​ 31(1), 81–105.

Von der Fuhr, S. (2016).​​ Pop, wat levert het op?​​ Retrieved from Cubiss website:

Weber, M. (1930).​​ The Protestant Ethic and the Spirit of Capitalism​​ (T. Parsons, Trans.). Retrieved from

Weber, M., & Owen, D. S. (2004).​​ The Vocation Lectures. Hackett Publishing.

Weber, W. (1984). The contemporaneity of eighteenth-century musical taste.​​ The Musical Quarterly,​​ 70(2), 175–194.

Weber, W. (1992).​​ The Rise of Musical Classics in Eighteenth-Century England, A Study in Canon, Ritual, and Ideology. Oxford: Claridon Press.

White, H. C., & White, C. . A. (1995).​​ Canvases and Careers. New York: Wiley.

Williams, J. P. (2009).​​ Authenticity in Culture, Self, and Society​​ (1 edition; P. Vannini, Ed.).​​ Farnham, England ; Burlington, VT: Routledge.

Winkel, C. V., Gielen, P. J. D., & Zwaan, K. (2012).​​ De hybride kunstenaar. De organisatie van de artistieke praktijk in het postindustriële tijdperk.​​ Retrieved from

Wouters, C. (2007).​​ Informalization, Manners and Emotions since 1890. London: Sage.

Wright, D. (2018). ‘Hopeful work’ and the creative economy. In​​ The Palgrave Handbook of Creativity at Work​​ (pp. 311–325). London & New York: Palgrave Macmillan.

Wuggenig, U., & Rudolph, S. (2013). Valuation Beyond the Market. On Symbolic Value and Economic Value in Contemporary Art. In​​ Art Production Beyond the Art Market.​​ (pp. 100–149). Retrieved from

Zarobell, J. (2015). Paul Durand-Ruel and the Market for Modern Art, 1870-1873. In S. Patry (Ed.),​​ Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market​​ (1 edition). London, UK: National Gallery London.

Zelizer, V. A. (1994).​​ The Social Meaning of Money. New York: Basic.

Zuidhof, P.-W. (2003).​​ Beyond the Polemics on the Market. Presented at the Paper presented at the Eastern Sociological Society Conference.​​