The Sociology of Art

SOC D12, Winter 2021

Professor Mullen

Week #8, March 12

Plan of the day:
1. Take up Term Test #1
2. Review of last week
3. TODAY’S TOPIC: How is the value constructed in the world of
African art?
4. PRESENTATION: Makda, on Kasfir
5. Breakout rooms to discuss Kasfir & discussion
6. Lecture: Kasfir
7. Break
8. PRESENTATION: Victoria, on Rawlings
9. Breakout rooms to discuss Rawlings & discussion
10.Lecture: Rawlings
Term Test #1 Marking Rubric
Conceptual Definitions: How well are concepts understood? Can the student recognize what is significant
about the concept? For full marks, must answer both parts to the question (definition & significance).

A: 10 points: standout answer; perfect or very nearly perfect; shows overall excellent grasp of the
concept and its significance;
 
A: 8.5 points: excellent answer, as above, with minor flaw
 
B: 7.5 points: strong answer, but one part may either be somewhat incomplete or
slightly inaccurate (though not altogether wrong)
 
C: 6.5 points: somewhat strong answer but also some significant issues, confusion or lack of clarity;
missing discussion of significance
 
D: 5.5 points: weak grasp of concept
 
F: 4 points: very weak grasp of concept
 
0: incoherent or completely wrong
Common issues with conceptual definitions:
• Missing the second part (significance)
• Questions with low marks are generally those that went off track or did not
demonstrate familiarity with the course readings
• Forgetting to include a word count or going over the word count (points were not
deducted for this)
Marking Scheme for Essay Questions
 A = 17 – 20 points: 20: demonstrates excellent grasp of materials and ability to fully answer question;
17: excellent but with minor flaws
B = 15: strong comprehension and ability to answer question; some weaknesses
C = 13: somewhat strong answer but some significant issues
D = 11: weak grasp
F = 9: very weak grasp
0 points: entirely off track

Common Issues with Essay Questions:

• Not answering all parts of the question
• Not demonstrating familiarity with course readings and concepts; not connecting answers to course
themes
• Quality of writing and organization of the answers: some were casual and disorganized
REVIEW: Questions of Value in the World of Self-
Taught Art
• Who counts as an artist? What provides for the legitimation of art objects?
• How does value develop? How do objects gain value? How do creators gain
reputations?
• Importance of:
• Artists’ biographies
• Particular features of their lives help support the idea their work is more authentic
and therefore more valuable
• Biographies need to be managed
• Reputations need to be carefully built
• “Narratives of discovery” are an important part of the process
• Fine uncovers how boundaries develop that govern the inclusion
and exclusion of artists
How did African artifacts become art?
• From exotica, shown in “cabinets of curiosities”
• To scientific specimens, in museums of natural history
• To Tribal ART, sold in galleries, not tourist stores
• To Contemporary ART, shows in museums and galleries
Cabinet of curiosities…or artifact?
“Mami Wata” paintings – transition to art
Why are some things “tourist” art and others are
not? Why is tourist art devalued?
Kasfir:
Key questions:
1. Who creates meaning for African art?
2. Who or what determines the cultural authenticity of African
art?
3. What makes something tourist art?
4. What kinds of contradictions are apparent in processes of
meaning making and authenticity?
Kasfir discussion questions
Group #1: Andrina & Victoria
1.    Review the complexity Kasfir describes in labeling something “tourist art.”  What
does this tell us about how authenticity is constructed?  
Group #2: Surbhi, Abonti, and Syed
1.    What is the “before and after model” as described by Kasfir?  Why does she
reject it? 
Group #3: Clinton and Farah
1.    What are the main criteria for authenticity as described by Kasfir? 
Group #4: Makda and Darius
1. Kasfir discusses the differences in the ways in which artists and collectors regard
notions of authenticity in regards to African art.  What are the main differences and
what does this tell us about how authenticity and value is constructed? 
Rawlings: Key questions
What explains shifts over time in what is labeled African ART?
How did tribal objects become ART?
What explains the emergence of a new type of African art, called
“contemporary African art”? (Only began in the 1980s)
What explains the distinctions made between “tribal” and “named” art?
Broader question: What explains shifts over time within an artistic field?

Main argument:
“What is labeled fine art…is the outcome of ongoing symbolic struggles
within the fine art world.”
 Rawlings discussion questions
Group #1: Andrina & Victoria
1.    From Rawlings’ (2002) article, explain the concept of “disinterestedness.”  What is it and why is it
important?  

Group #2: Surbhi, Abonti, and Syed

1.    Briefly outline the differences in the criteria for authenticity between tribal African art and
contemporary African art as reported by Rawlings (2001).  
Group #3: Clinton and Farah
1.    What are the similarities and differences with the criteria for authenticity described by Gary Alan
Fine in his study of self-taught art and those identified by Rawlings (2001)? 
Group #4: Makda and Darius
1.    What are the parallels with the criteria for authenticity described by Kasfir (1992) in her study of
African art and those identified by Rawlings (2001)? 
  
 Next Week:

Third of Four Case Studies

How is value constructed in the world of

contemporary art?