Editor's Letter

ART DRIVEN. How far will you go to see a can of Campbell's soup? Today, art is the motivation behind hundreds of thousands of collectors who believe their selection has merit. When Andy Warhol became popular in the 70s with his art renditions of soup cans and objects that were in fact cartoon attention-getters for his graphic projects as a commercial artist, the common viewer thought the art world had taken a dive. Pollock added a new dimension with his splash-and-dribble giant canvases, which became works for the most advanced art analysts to ponder over balance, intense color saturation and, more importantly, "technique." No question, the artists were good and had a message to portray, but the collectors were smarter. They invested and promoted the rage harbored in these artists. Today, these Warhols and Pollocks are still the inspiration for thousands of new and emerging artists. A look at our Florida talent ("Artist Showcase 2007" p. 74) with thumbnail samples of their work is like mirroring the past from the turn of the 20th Century to current world affairs. Which one or two of these artists will gain the fame Warhol did? And which would you buy now? This issue is dedicated to advancing your appreciation of art and its application. FIM has listed hundreds of venues, shows, galleries and events that take place throughout Florida this season, but this year we're also taking you inside some of the homes of the gallerists and promoters of art to show you how they live with their selections, how they chose their artists and why they set the trend when it comes to buying art. As well, we've added new features showcasing several designers that have created spaces specifically to "show off" the homeowners' art collections. These spaces bring the reality of living with important art into focus. Most are open, white and architecturally sophisticated. Conversations with the designers bring you closer to the mission behind the art and give you insight into those who collect it.

For me, art is an evolution of one's own life's experience. I look at art selfishly, not from the artist's perspective (which is what smart collectors do), but from the perspective of how it makes me feel. I'm also attracted to figurative works, rather than abstract. I love large - sculptures, canvases and installations - but I ran out of walls years ago. Now it's a matter of replacing work. Does that mean that my original pieces have to get stored or, God forbid, sold? It could indicate I'm already a collector with a horde of paintings that have no home. Admittedly, some of these works fall into the "decorator" category - a pretty picture that fit in the right bedroom or bath that needed a little something. I have lots of "little somethings" that need a good toss, but others were selections that have made the "art" chart and will be moved up from the bedroom to a more important focus space to be enjoyed, pondered and analyzed as to the artist's original intent.

Esther Jackson

Publisher & Editor-in-Chief