Age, Biography and Wiki
David Galenson was born on 20 June, 1951 in Boston, Massachusetts, United States, is an American economist. Discover David Galenson's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 72 years old?
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Age |
72 years old |
Zodiac Sign |
Gemini |
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20 June, 1951 |
Birthday |
20 June |
Birthplace |
Boston, Massachusetts, United States |
Nationality |
United States
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We recommend you to check the complete list of Famous People born on 20 June.
He is a member of famous economist with the age 72 years old group.
David Galenson Height, Weight & Measurements
At 72 years old, David Galenson height not available right now. We will update David Galenson's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
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Dating & Relationship status
He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.
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David Galenson Net Worth
His net worth has been growing significantly in 2023-2024. So, how much is David Galenson worth at the age of 72 years old? David Galenson’s income source is mostly from being a successful economist. He is from United States. We have estimated David Galenson's net worth, money, salary, income, and assets.
Net Worth in 2024 |
$1 Million - $5 Million |
Salary in 2024 |
Under Review |
Net Worth in 2023 |
Pending |
Salary in 2023 |
Under Review |
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Not Available |
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Not Available |
Source of Income |
economist |
David Galenson Social Network
Timeline
David Walter Galenson (born June 20, 1951) is a professor in the Department of Economics and the College at the University of Chicago, and a research associate of the National Bureau of Economic Research.
He has been a visiting professor at the California Institute of Technology, Massachusetts Institute of Technology, the University of Texas at Austin, the École des Hautes Études en Sciences Sociales in Paris, and the American University of Paris.
He then studied at Harvard College for both his undergraduate and graduate education, completing his PhD in 1979.
Galenson is known for postulating a new theory of artistic creativity.
Based on a study of the ages at which various innovative artists made their greatest contributions to the field, Galenson's theory divides all artists into two classes: conceptualists, who make radical innovations in their field at a very early age; and experimentalists, whose innovations develop slowly over a long period of experimentation and refinement.
Although Galenson initially developed his theory from data solely concerning the visual arts, he has since also investigated conceptual and experimental innovators among poets, novelists, film makers, popular musicians and economists.
Comics theorist Scott McCloud seems to have anticipated some aspects of Galenson's theory in his 1993 book Understanding Comics.
In 2008, he was awarded a Guggenheim Fellowship in fine arts research.
He is the Academic Director of the Center for Creativity Economics, which was inaugurated in 2010 at the Universidad del CEMA, Buenos Aires.
He attended Phillips Academy.
Elias et al (2020) and Elias et al (2022) combine Galenson´s approach with Paul Romer approach to innovation to analize innovations and innovators in the Argentine wine industry and the Peruvian cuisine respectively.
Among the examples Galenson cites of conceptualists are:
Among the examples he gives of experimentalists are:
He talks about his ideas in the Shaping Business Minds Through Art podcast in 2020.
Galenson's distinction between conceptual and experimental is based upon evidence from the age in which artists were most productive creatively.
However, other studies have challenged that the underlying cause is not age, but are due to artistic movements which occur in certain periods.
Artists in artistic movements tend to be creative regardless of their age.
Thus, Galenson's theory has been criticized for overemphasizing the individual and overlooking the collective aspects in supporting creativity.