Art is said to have a life of its own. But what exactly does that entail, as a piece of work goes from the hands of its creator on to its own separate existence? Where does it go, and who becomes its keeper? Who gets to see it along the way?
This issue of Idaho Arts Quarterly looks into some of the ways that art is presented and displayed after it has left the artists' hands. In one case, it is taken over by another artist, whose investigations into how art is represented bring the storied New York art scene onto anyone's computer screen. The work of Loren Munk, a.k.a. James Kalm, uses technological opportunities to break down the barrier of the gallery walls. In another piece, we are given a tour and get a glimpse into the world of art collectors as they build and present their collection. There is a look at the various places that art can be showcased, from café walls to galleries, and what that location can mean to the art, the artist, and the art community as a whole. We also check into one way that artists share their work among themselves, using a print exchange where the audience is other participating printmakers. Along the way, we explore a home-grown playwrights conference; a marvel of modern architecture and can-do attitude, built to house a free summer symphony concert series; and we get a chance to see just what all those shoe-gazers are actually looking at.
As our investigation into the arts in Idaho continues, we become increasingly aware of both the fragile, tenuous nature of the art world and the over-riding knowledge that art is crucial, vital and integral in all times. The responses to these times will be watched with growing intensity. For now, lift your eyes and open your ears: Summer is upon us, and there is much to do and see. Let it nourish you.