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Art return indices are usually estimated based only on a few means of artistic expression (mainly paintings and drawings). Other forms of expression (e.g. sculptures and installations) are generally ignored, in part because they are three-dimensional and, hence, more difficult to measure. We analyze the price determinants as well as the return and risk of three artistic expressions (paintings, drawings and sculptures) executed by Fernando Botero, the most expensive living Latin American artist, to analyze the degree to which their risk and return attributes differ throughout a 20-year period.

We analyzed all paintings, drawings and sculptures executed by Botero and sold at Sotheby’s and Christie’s between 2000 and 2020 (a total of 707 artworks). The data and the images of each artwork were obtained from the web pages of these two auction houses. A hedonic regression was run to explain the price of each artwork and use explanatory variables that are standard in the literature. Art price indices for paintings, drawings and sculptures were constructed using the year-dummy variables estimated in the regressions. We performed a similar analysis for another artist, Carlos Cruz-Diez, as a robustness to our results.

The performance of Botero’s sculptures through time differs markedly from that of his paintings and drawings. Our results suggest that it is possible that returns estimated in the literature could suffer from a bias, as they have usually ignored the performance of sculptures and other artistic expressions. Botero’s paintings provided a return that was comparable to those of his sculptures (3.36% and 3.20%, respectively), they were two times as high as those of his drawings (1.68%). On the other hand, whereas paintings and drawings had similar annual standard deviations (26% and 25.22%, respectively), sculptures had a much smaller standard deviation (16.96%).

A limitation of the hedonic regression method lies in the need to have a significant and diverse sample to identify the true effect of each variable on the price of a good. Another limitation is that we were only able to use art prices from auctions, as this is the only comprehensive source of art price data that is publicly available. These two limitations are shared by all the studies that use the hedonic pricing model.

Our results have practical applications for art collectors and investors, as well as for artists, galleries and, in general, for the whole art market ecosystem. The risk and return attributes of the various artistic expressions of an artist can be different, and thus it makes sense to analyze each one of them individually, as well as their correlations with the other artistic expressions and with traditional and other alternative investments.

The art market is part of what is known as the “orange economy” (also known as the Creative Economy). According to the World Bank, the economic value of the creative sector is not well known or appreciated, even though cultural, creative and artistic activities are vital for our sense of well-being.

To the best of our knowledge, this is the first paper that compares the financial performance of paintings, drawings and sculptures for the case of a specific artist. We chose Botero for three reasons. First, he is a Latin American living artist who has achieved the highest levels of international sales. Second, Botero has worked extensively on various artistic expressions (oil paintings, drawings on different materials and sculptures) throughout his life, a characteristic that is essential to be able to carry out our study. Third, there is a long record of auction sales for each of Botero’s artistic expressions.

Los índices de rentabilidad del arte generalmente se estiman basándose únicamente en unos pocos medios de expresión artística (principalmente pinturas y dibujos). Otras formas de expresión artística (por ejemplo, esculturas e instalaciones) generalmente se ignoran, en parte porque son tridimensionales y, por tanto, más difíciles de medir. Analizamos los determinantes del precio, así como el retorno y el riesgo de tres expresiones artísticas (pinturas, dibujos y esculturas) ejecutadas por Fernando Botero, el artista latinoamericano vivo más caro, para analizar en qué medida sus atributos de riesgo y retorno difieren a lo largo del tiempo, en un período de 20 años.

Analizamos todas las pinturas, dibujos y esculturas ejecutadas por Botero y vendidas en Sotheby’s y Christie’s entre 2000 y 2020 (un total de 707 obras de arte). Los datos y las imágenes de cada obra se obtuvieron de las páginas web de estas dos casas de subastas. Se realizó una regresión hedonante para explicar el precio de cada obra de arte y se utilizaron variables explicativas estándar en la literatura. Los índices de precios de arte para pinturas, dibujos y esculturas se construyeron utilizando variables ficticias anuales estimadas en las regresiones. Realizamos un análisis similar para otro artista, Carlos Cruz-Diez, como análisis de robustez de nuestros resultados.

El desempeño de las esculturas de Botero a través del tiempo difiere marcadamente del de sus pinturas y dibujos. Nuestros resultados sugieren que es posible que los retornos estimados en la literatura sufran un sesgo, ya que generalmente han ignorado el desempeño de esculturas y otras expresiones artísticas. Las pinturas de Botero proporcionaron un retorno comparable al de sus esculturas (3.36% y 3.20%, respectivamente), pero fueron dos veces superiores a los de sus dibujos (1.68%). Por otro lado, mientras que las pinturas y los dibujos tuvieron desviaciones estándar anuales similares (26% y 25.22%, respectivamente), las esculturas tuvieron una desviación estándar mucho menor (16.96%).

Una limitación del método de regresión hedónica radica en la necesidad de contar con una muestra significativa y diversa para identificar el verdadero efecto de cada variable sobre el precio de un bien. Otra limitación consiste en que solo pudimos utilizar precios de arte de subastas, ya que esta es la única fuente completa de datos sobre precios de arte que está disponible públicamente. Estas dos limitaciones son compartidas por todos los estudios que utilizan el modelo de precios hedónico.

Nuestros resultados tienen aplicaciones prácticas para coleccionistas e inversores de arte, así como también para artistas, galerías y, en general, para todo el ecosistema del mercado del arte. Los atributos de riesgo y retorno de las diversas expresiones de un artista pueden ser diferentes, por lo que tiene sentido analizar cada una de ellas individualmente, así como sus correlaciones con las otras expresiones artísticas y con las inversiones tradicionales y otras alternativas.

El mercado del arte forma parte de lo que se conoce como “economía naranja” (también conocida como Economía Creativa). Según el Banco Mundial, el valor económico del sector creativo no es bien conocido ni apreciado, a pesar de que las actividades culturales, creativas y artísticas son vitales para nuestra sensación de bienestar.

Hasta donde hemos podido comprobar, este es el primer artículo que compara el desempeño financiero de pinturas, dibujos y esculturas para el caso de un artista específico. Elegimos a Botero por tres razones. En primer lugar, es el artista vivo latinoamericano que ha alcanzado los mayores niveles de ventas internacionales. En segundo lugar, Botero ha trabajado extensamente en diversas expresiones artísticas (óleos, dibujos sobre distintos materiales y esculturas) a lo largo de su vida, característica que resulta fundamental para poder realizar nuestro estudio. En tercer lugar, existe un largo historial de ventas en subasta de cada una de las expresiones artísticas de Botero.

This paper provides an insight into the left and career of the sculptress Victoria Claire, told in her own words.

This is a lived experience narrative.

Diagnosed with retinitis pigmentosa at the age of 19, Victoria’s life was turned upside down. Plunged into the depths of despair, it was her love for and practice of sculpture and music which saved her and gave her purpose. Years of therapy have helped her to understand and love herself as beautiful imperfection.

The vast majority of us inhabit a “sighted world”. Victoria helps us to understand how many of the things we take for granted are so much harder for the visually impaired.

We all need to be sensitive to helping those with sensory difficulties navigate our social world.

When you look at the amazing sculptures that Victoria creates, you cannot help but be impressed that she can create such works of art using her hands, her sculpting tools and her imagination. We can gaze at the beauty of her creations. She cannot.

The purpose of this paper is to share Victoria Clare’s story.

Victoria wrote a biography of her experiences. Robert then asked a series of questions from the perspective of a mental health academic.

Victoria shared stories from her life, and how her experiences have shaped her life and herself.

Narratives such as this give us an overview of only a single person’s experiences. However, they allow the person with lived experience to explore their story in depth.

What Victoria has written will give readers an insight into her life and experiences.

There is so much to learn from a story like Victoria’s, especially in her approach to creativity.

This is Victoria’s own unique story. The value of this is apparent upon reading it.

This paper discusses art and sustainability in the 21st century; therefore, we can't ignore the huge technological revolution that currently exists. Art throughout history has been associated to religion, politics and economics, but now it is also connected to technology. Hence, the question arises: Can digital technologies achieve sustainability? In this regard, the research will address the effective role of digital technology in achieving sustainability in art field and its practices.

The main research material is derived from my interviews with artists, professors, curators, gallerists and art historians. In addition to the references of sustainability in various fields that are related to art, as Sustainability has become a goal that all sectors are striving to achieve to preserve our planet, as much as we can, especially in the field of art which is closely related to the environment.

This paper explores the possibility of achieving sustainability in art field and its practices through digital technologies. In addition, it reveals that countries that have developed digital technologies are able to apply the digital technologies in art and its practices to achieve sustainability, in contrast, developing countries they could not achieve sustainability through digital technologies.

As part of a joint research project between a developing and developed country, the paper clarifies the different opinions from 14 countries about the extent to which sustainability in art is achieved through digital technology. It also outlines some successful and unsuccessful experiences in achieving sustainability in art.

The indigenous and sustainable knowledge possessed by the tribal people and communities plays an extremely important role in the conservation of the climate. As per the United Nations Sustainable Development Goals (UN SDGs), tribal communities play an important role in preserving traditional knowledge, culture, food practices and textiles. The remains of the Indus Valley civilisation highlight the importance of the culture and religion. Animism and the worship of nature to achieve success in routines and tasks have been practised by these tribes for centuries. India is a mosaic of more than 705 different colourful tribes, and each of these tribes has their own identity that differentiates it from the other tribes. With increasing ecological complexities, the knowledge owned by the tribes is extremely useful in the preservation of the climate. This chapter seeks to explore the various hues and colours that constitute the mosaic of Indian tribal culture.

The aim of this paper is to answer the question: What stimulates artisan entrepreneurs to act as responsible leaders?

A qualitative research method was employed and semi-structured interviews with 30 artisans working in four different artisanal activities were used to gather the data. Thematic analysis was subsequently applied to the interview transcripts.

The findings suggest that the main factors causing artisan entrepreneurs to act responsibly are as follows: autonomy (the authority artisans exercise in managing their businesses; preserving socio-cultural identity is an artisan’s main duty; proving an individual competency in implementing society-related priorities), competence (adhering to generally accepted business practices; simplicity of developing and maintaining the social agenda of artisan enterprises; meeting the clients’ desire in exercising a social awareness) and relatedness (returning social favours; necessitating involvement with different stakeholders; contributing to the common good).

This paper contributes by filling a gap in the literature on artisan entrepreneurship, responsible leadership and research in tourism and hospitality, in which empirical studies on the responsible practices of artisan entrepreneurs have been limited so far.

Today's museums seek to be more representative of the social diversity of the communities they serve. Their intention is reflected not only in the exhibitions and public programs they offer, but also in the development of their collections and their uses. The colonial origins of the collections and the gaps in the major art historical narratives that have provided their primary interpretations are more widely recognized. Several recent initiatives are revisiting, for inclusion purposes, the principles of exemplarity, uniqueness, internal organization, and material integrity on which acquisition and its valorization were until recently based. This chapter considers current initiatives undertaken over the past 10 years by the Musée d'art contemporain de Montréal, the Montreal Museum of Fine Arts, the National Gallery of Canada, and the Musée national des beaux-arts du Québec, in the development and use of their collections. It is done by taking as support three strategies established by Maura Reilly (2018) to foster inclusion in exhibitions. These three strategies – areas of study, revisionism, polylogue – are loosely adapted for collections. The four museums were selected for (1) the interest of their initiatives, (2) the complementarity of these institutions, in terms of collecting scope (contemporary, national, or “encyclopedic”), institutional status (major museums, two provincial, one federal, one nonprofit) and location (in major cities, metropolis, or capital city), and their partnership in the “New Uses of Collections in Art Museums” Partnership (SSHRC 2021–2028) of the CIÉCO Research and Inquiry Group. This portrait, through the collections of four institutions, is paradigmatic of a fundamental transformation in Canadian art museums.

By examining types of literacies taught by public libraries and the modes through which these programs were offered, this study aims to explore how public libraries might integrate data literacy training for the general public into existing library educational programs.

This study examined programs offered in 30 US public libraries during 2019 and 2020 to better understand types of literacy education announced to the public through library website listings and Facebook Events pages.

While public libraries offered educational programs in literacy areas ranging from basic reading and writing to technology, vocational skills, health literacy and more, data literacy training was not widely offered. However, this study identified many already-existing programs highly compatible for integrating with data literacy training.

This study offered new insights into both the literacies taught in public library programs as well as ways for public libraries to integrate data literacy training into existing educational programming, in order to better provide data literacy education for the general public.

User-generated content was explored to understand the public discourse surrounding the Vessel, a star architecture in New York. Through text analytics, the study aims to uncover topics, sentiments and themes in public opinion regarding this controversial building from social media data.

This study utilized a big data and text analytics approach, employing topic modeling with the BERTopic technique, sentiment analysis with roBERTa and thematic analysis on 10,259 Reddit comments pertaining to the Vessel.

The comments were grouped into 20 topics and seven themes, shedding light on discussions regarding the Vessel’s philosophy of existence, critiques of the architect’s approach, evaluations of project success or failure and considerations of the project’s future. Negative sentiments dominate the discourse, reflecting widespread criticism and skepticism towards the project.

The manual data collection method, due to API restrictions, precluded tracking evolving trends over time. Nevertheless, the study provides insights for architects, urban planners, policymakers and stakeholders involved in public space design and management, highlighting the importance of considering user feedback from social media platforms.

This study enriches our comprehension of how users perceive star architecture in the age of social media, focusing on hidden layers of discourse surrounding a controversial iconic building. By combining topic modeling and sentiment analysis, the study offers a novel approach to analyzing architectural public debates on social media platforms like Reddit.

Proenvironmental hotels and hotels with green initiatives are emerging as a method to address environmental issues and respond to tourists’ environmental concerns. To better understand what can encourage reservations in proenvironmental hotels, this study aims to investigate the connection between the performing arts watching experience and the preference for such a hotel.

Five scenario-based experiments were conducted. A total of 1,024 participants for the five studies were recruited with the help of Credamo, a commonly used Chinese data collection platform.

The results indicated that viewing performing arts could increase tourists’ preferences for proenvironmental hotels. This phenomenon occurred due to the fact that performing arts watching experience can induce a psychological state of self-transcendence in individuals, which, in turn, can raise their levels of altruism, and ultimately lead to proenvironmental hotel choices. This effect will not occur, however, when people watch performing arts with either an extrinsic motivation or in an analytical state.

The findings of this study provide hotel managers with a novel approach to market the proenvironmental attributes of their hotels and to promote tourists’ proenvironmental behaviors.

This study proposes performing arts viewing experiences as a novel way to encourage proenvironmental hotel choice. To the best of the authors’ knowledge, this is the first study to explore the impact of the performing arts watching experience on tourist behavior.