[irony]This post has no title[/irony]

Found through Your Version HD – one of the more obscure news fetching apps – an article from an Indian newspaper published tomorrow, about an exhibition of conceptual art objects:

What is the value of art without the artist’s name on it? And how does an artist brand his work as art? An exhibition raises these questions.

If there’s one general factor that distinguishes modern art from art of preceding eras, high art from popular art and craft, then it is the “signature”. Modern artists sign their works, pre-modern artists didn’t, craftsmen still don’t. In a very real sense then, it is the artist’s signature that authenticates an object as a work of art and gives it value. But what about a work of contemporary art such as Hand-picked Rejects by the Mumbai-based artist Sharmila Samant, which comprises garments rejected by export houses on which she has embroidered, “This is an original”? The point of the art-work is not the object — which, anyway, has not been made by Samant as a painter or sculptor of yore would make a painting or sculpture — but the idea of what constitutes originality in fashion and the exploitative labour that is used by fashion houses. But how does the artist validate, or “brand” it as a work of art?

In light of digital distribution of collections of electrical signals, or printed on dead trees… excerpt from The Business Standard by Gargi Gupta