Synopsis
The Zimbabwe stone sculpture movement has always been as much about commerce as about art. From its inception in the late 1950s, the debates have centered on issues of authenticity, fine art versus tourist art, and distinguishing the "real" artists from the imitators and hacks. No one has really focused on the lower end of the high art-low art spectrum -- the street sellers, entrepreneurs who earn a livelihood from making and hawking sculpture. The Kileffs' short study is a refreshing look at the small business end of art production in Zimbabwe.
