“If I could put my body into my work,” Orly Genger likes to say, “that would be the ultimate.” Some might argue that she does that already in her sculptures. Over the last 10 years, Ms. Genger has become known for creating ambitious installations from seemingly endless coils of rope that she crochets and teases into shapes that recall Modern masterworks. [Read more on the New York Times]


    David Shrigley makes a shrine to Michael Jackson’s former pet chimp Bubbles (who is alive and well in the Center for Great Apes in FL). [via Artinfo]


    8 Great Brooklyn Artists Under 30

    [Read the story on L Magazine]


    Stolen Ai Weiwei seeds sprout new exhibition

    Couriers of Taste will open at Danson House in Bexleyheath in April and, with a little help from Ai’s light-fingered international fans, aims to explore themes of “international trade, cross-cultural influences and authorship”. Those with a stolen seed (and a guilty conscience to assuage) should emailseeds@dansonhouse.org.uk by 8 March. The curators promise to keep seeds separate and return them to their “owners” in October. No questions asked. [From the Independent]


    JR on Bringing His Interactive Street Art Initiative to Tsunami-Hit Japan

    TOKYO — Winner of the 2011 TED Prize, which put him in the ranks of past recipients like Bill Clinton and Bono, the Parisian artist JR spent the past two years working on his “Inside Out” global art project, an offshoot of his earlier guerilla works photographing the inhabitants of banlieues on the outskirts of Paris and later of the slums of Brazil and Kenya, and then pasting massive renditions of his images on the facades of buildings. The current project invites people to submit portraits of themselves through his website, which are then printed in large format and given back to them to do with as they please. [READ MORE ON ARTINFO]

    View art by JR here.


    Over the last decade the painter Iona Rozeal Brown has created a fantastical body of work that unites so many seemingly irreconcilable realities — Japanese ukiyo-e prints and hip-hop; voguing and Noh and Kabuki theater; West African adinkra symbols and graffiti; Byzantine religious painting and comic-book motifs — that it gives new meaning to the idealized space of the canvas. [Read more on the New York Times]

    Collect artworks by Iona Rozeal Brown here.


     Would the Art Market Benefit From More Regulation?

    Art critics often complain about their lack of influence, but last year’s ink-stained revolt against the murky and financialized art market has bubbled into something resembling real impact: a front-page (front-page!) article in the New York Times casting a sharp light on the unregulated nature of the market. Coming at a time when an unstoppably climbing market, a spate of ugly lawsuits (Knoedler, Gagosian, et al.), and a new drive to treat artworks as investment vehicles divorced from aesthetic considerations, the article, by art reporter Robin Pogrebin and special-projects editor Kevin Flynn, strongly suggests that “monitoring has not kept pace with the increasing treatment of art as a commodity.” But, as the piece details, there have been various pushes to ensure fairness in art commerce for decades. Why is regulation so difficult to pull off? [Read more in Artspace’s A1 News Roundup]


    Gilbert & George works to be used in Jean Abreu dance show

    It was partly a mutual interest in blood and bodily fluids that led the Brazilian choreographer and performer Jean Abreu to approach Gilbert & George to ask if he could use their art in his new show.They said yes, and Abreu selected 25 images from works created between 1996 and 1998 to create a visual backdrop for his new work Blood, which will open in May in Colchester before travelling to Leicester and the Linbury studio theatre at the Royal Opera House in London. [Read more on the Guardian]


    LOS ANGELES — 3D is experiencing a bit of a renaissance, what with 3D films and 3D GIFs becoming all the rage. Heck, you might count 3D printing into the mix, with printed cookies now possible. But I still long for a 3D practice that takes 3D past the simple fact of its three dimensions and gives us a little more. [Read more on Hyperallergic]

  10. THE DAILY STORY (A roundup of last week’s top art news)

    Last year the art market pulled in $64 billion in sales—beating out the equities market, according to Artlyst—and the New York Times is kicking off the new year with an online “Sunday Dialogue” to ask a time-honored question: Is there an art bubble? Posing this chestnut is one William Cole, a writer “working on a book about art connoisseurship,” and he strongly insinuates that the answer is yes, with engineered “hype” tricking the market to “the point where people pay tens of millions of dollars for works by the likes of Andy WarholJeff Koons,Jean-Michel Basquiat, and Damien Hirst.” He adds these types of artists today “generally avoid[] pharaonic works, focusing instead on mass-produced kitsch.” What both the question and the way it is phrased ignore is that a seismic, fundamental shift in the way the art world operates is underway, and this warrants some explaining. [Read more on Artspace]

    Image above: 

    The Louis Vuitton store in Takashi Murakami’s 2008 “@Murakami” survey at L.A. MOCA

    From “Wall Street” to “Girls,” 10 Examples of Pop Culture’s Mixed-Up Take on Art

    Pop culture has a strange, twisted, love-hate, Sam and Diane kind of relationship with art. It adores artists as tortured visionaries but ridicules the art world as a den of pretentious weirdos. What do reporters and critics who spend their days devoted to covering this scene have to say about popular takes on art? To answer that question, we had our writers pick out 10 of their favorite examples of art in film or TV, and then give them letter grades for accuracy and effort (to reward works that at least try to get it right). [Read more on Artinfo]


    Jeff Koons Designs Mouton 2010 label

    Koons is the latest in a long line of artists to create an original work for the château, which has commissioned avant-garde artists to design its labels since 1945. Owner and long time art lover Baroness Philippine de Rothschild commissioned the Pennsylvania-born sculptor to create the label. In his design, Koons works over a Pompeii fresco of The Birth of Venus with a silver line drawing of a ship sailing under a bright sun. [Read more on The Drinks Business]


    A1: On the Stunning Exodus of Damien Hirst, Yayoi Kasuma, and Jeff Koons, and More Art News

    Imagine if Tom Cruise had been suddenly and dramatically abandoned this June by not only his wife Katie Holmes but also two other wives, say Jennifer Lopez and Cameron Diaz. Adjusted to the dimensions of the art world, that might generate about the scale of perfervid speculation and bug-eyed interest that we saw explode around Gagosian Gallery this week when Damien Hirst joined Jeff Koons and Yayoi Kusama in an extraordinary defection of titanic mega-artists from the blue-chip gallery. What’s going on here? In Hirst’s case, at least, there are multiple possible motives. [Read the full story and weekly round up of art news on Artspace here]


    Zoo Station

    For nearly three decades, Alexis Rockman has been painting what he calls “natural-history psychedelia” — dinosaurlike descendants of rabbits and roosters; a chimera of an alligator, a pigeon and a rat thrashing in a sewer (or depending on how you look at it, a flooded subway tunnel). In 2009, the director Ang Lee asked Rockman to produce visual inspiration for his movie “Life of Pi” (released Nov. 21), based on Yann Martel’s novel about a boy’s spiritual journey adrift at sea in a boat with a tiger. Knowing that the film would rely heavily on digital imaging, the filmmakers wanted a human hand to help visualize some of the “freaky biological fantasies” living in the water where the story takes place. [Read more on the New York Times]


    Is the World’s Largest Permanent Sculpture a Monument to Our Times?

    LONDON - What will the future think of the world when they look back on the marks we have left? Will it be with the same reverence with which we gaze on the Acropolis hill and the Parthenon that sits upon it as a symbol of civilization and democracy or something less forthcoming? [Read more on Hyperallergic]

    ABOVE: The Mastaba, 1997 by Christo