Art today has become an extreme exacerbation of twentieth-century attention economics, where the artist’s standing in the reputational economy is determined by his or her coefficient of specific visibility. Artworks and their authors are no less “branded” than other commodities; yet they are consumed for their uniqueness. Today, Chinese, Indian, Brazilian, etc. artists are highly capitalised in the global market. Difference is integral to marketing tactics, some use it whilst others are exploited by it. Their differentiated ethnological artefacts – of reverie and worship – bolster the broader art-belief system.

See the excellent article, ‘Reinvesting Surplus Attention in Plausible Artworlds‘, on North, East, West, South (NEWS).