Tyler Cowen is professor of economics at George Mason University. His books include "Creative Destruction" (Princeton) and "Create Your Own Economy". He frequently writes for the "New York Times", Slate, and the economics blog Marginal Revolution.

"A rare and much needed objective look at the topic of government funding for the arts. Avoiding the hyperbole often heard on both sides of the argument, Cowen offers a balanced overview of publicly-funded art. A must for the biased advocate."--Art Times "Cowen makes the point loudly and clearly: indirect subsidy favors the decentralization of artistic creativity, particularly as it involves nonprofit institutions, and a thousand flowers can (and do) bloom."--J. Mark Schuster, Journal of Cultural Economics "[Good and Plenty] explores the debate over government funding for the arts in an attempt to make each position intelligible and sympathetic to the other side."--Journal of Economic Literature "Where Good and Plenty is at its best is in its discussion of the overall ecology of the arts and cultural sector, drawing explicit links between avant-garde activity and later commercial success. The narrative of experimentation as research and development for the sector is one that has recently gained currency in the UK and is discussed with persuasive force in Cowen's book."--Dave O'Brien, LSE British Politics and Policy blog

• Acknowledgments vii Chapter 1: Warring Perspectives 1 Chapter 2: Indirect Subsidies: The Genius of the American System 31 Chapter 3: Direct Subsidies: Are They Too Conservative? 65 Chapter 4: Copyright and the Future of Decentralized Incentives 101 Chapter 5: Toward a Beautiful and Liberal Future 133 Notes 153 References 169 Index 189

Tyler Cowen is professor of economics at George Mason University. His books include "Creative Destruction" (Princeton) and "Create Your Own Economy". He frequently writes for the "New York Times", Slate, and the economics blog Marginal Revolution.

"A rare and much needed objective look at the topic of government funding for the arts. Avoiding the hyperbole often heard on both sides of the argument, Cowen offers a balanced overview of publicly-funded art. A must for the biased advocate."--Art Times "Cowen makes the point loudly and clearly: indirect subsidy favors the decentralization of artistic creativity, particularly as it involves nonprofit institutions, and a thousand flowers can (and do) bloom."--J. Mark Schuster, Journal of Cultural Economics "[Good and Plenty] explores the debate over government funding for the arts in an attempt to make each position intelligible and sympathetic to the other side."--Journal of Economic Literature "Where Good and Plenty is at its best is in its discussion of the overall ecology of the arts and cultural sector, drawing explicit links between avant-garde activity and later commercial success. The narrative of experimentation as research and development for the sector is one that has recently gained currency in the UK and is discussed with persuasive force in Cowen's book."--Dave O'Brien, LSE British Politics and Policy blog

• Acknowledgments vii Chapter 1: Warring Perspectives 1 Chapter 2: Indirect Subsidies: The Genius of the American System 31 Chapter 3: Direct Subsidies: Are They Too Conservative? 65 Chapter 4: Copyright and the Future of Decentralized Incentives 101 Chapter 5: Toward a Beautiful and Liberal Future 133 Notes 153 References 169 Index 189

Tyler Cowen is professor of economics at George Mason University. His books include "Creative Destruction" (Princeton) and "Create Your Own Economy". He frequently writes for the "New York Times", Slate, and the economics blog Marginal Revolution.

"A rare and much needed objective look at the topic of government funding for the arts. Avoiding the hyperbole often heard on both sides of the argument, Cowen offers a balanced overview of publicly-funded art. A must for the biased advocate."--Art Times "Cowen makes the point loudly and clearly: indirect subsidy favors the decentralization of artistic creativity, particularly as it involves nonprofit institutions, and a thousand flowers can (and do) bloom."--J. Mark Schuster, Journal of Cultural Economics "[Good and Plenty] explores the debate over government funding for the arts in an attempt to make each position intelligible and sympathetic to the other side."--Journal of Economic Literature "Where Good and Plenty is at its best is in its discussion of the overall ecology of the arts and cultural sector, drawing explicit links between avant-garde activity and later commercial success. The narrative of experimentation as research and development for the sector is one that has recently gained currency in the UK and is discussed with persuasive force in Cowen's book."--Dave O'Brien, LSE British Politics and Policy blog

• Acknowledgments vii Chapter 1: Warring Perspectives 1 Chapter 2: Indirect Subsidies: The Genius of the American System 31 Chapter 3: Direct Subsidies: Are They Too Conservative? 65 Chapter 4: Copyright and the Future of Decentralized Incentives 101 Chapter 5: Toward a Beautiful and Liberal Future 133 Notes 153 References 169 Index 189