John Seed writes:

“NEW YORK — In a joint prepared statement issued earlier today, The Art Market and Art Criticism — two allegorical figures whose uneasy marriage has been under visible strain in the past month — have confirmed reports that they intend to divorce next year:

After long and careful consideration on both our parts, we’ve decided to end our marriage. We have loved each other deeply for many years, but recent developments have strained our ability to sustain a loving and meaningful partnership. It is a painful time for all involved and we ask that you respect our request for privacy at this very difficult juncture.

“The announcement ended considerable speculation – fueled by a spate of reports in tabloids and art blogs – that the marriage was in trouble. Coming less than a week after reports that artist Damien Hirst was ending his affiliation with Gagosian Gallery, the news rattled rattled their friends and associates who struggled to make sense of the seismic instability that has recently shaken the art world.”

Read the rest of John’s piece here.

Well, maybe in the ensuing chaos, we can find an opening for iphonic art in the modern art narrative. That has certainly been my goal from day one. As a good friend of my dad’s used to say, “In confusion, there is profit.”

The fact remains that iphonic art really doesn’t exist in the modern art culture as of yet. That is not to say that there aren’t individuals who aren’t aware of the work being done here on P1xels and elsewhere: it just means we are still mostly underground, bubbling upwards. And that is great, because that has allowed the art form to grow, develop, and blossom without the money pressure or being co-opted by marketeers.

However, I believe the medium—the art and the artists—is ready for prime-time, based on my own intuition and having observed the reactions to the work as exhibited in the THIRD WAVE shows in Berkeley and Bremen. I’ve had any number of serious art and photography connoisseurs rave about the level of craft, depth, expressiveness, and sheer wonder of this year’s crop of images. I’ve made it a point to be in the galleries from the beginning just so that I can gauge the public response to our work.

2013, here we come!

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