63 pages • 2 hours read
Get the Picture: A Mind-Bending Journey Among the Inspired Artists and Obsessive Art Fiends Who Taught Me How to See
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Themes
Developing an Eye for Art
In Get the Picture, Bosker explores the complex process of developing artistic discernment, revealing that acquiring an Eye for art involves far more than natural talent or academic study; it requires navigating a labyrinth of social codes, theoretical frameworks, and institutional expectations that often prioritize context over content.
Bosker finds that the art world remains deeply divided on whether an Eye can be developed at all. She encounters two opposing camps: those who believe artistic discernment is innate and those who view it as learnable. As one art advisor with “the posh accent of minor royalty” definitively stated, “I was always taught you either have the Eye or you don’t. I don’t know that it’s necessarily something you can learn” (56). Bosker notes that this perspective reflects the broader elitism of the art world that seeks to maintain exclusive access to cultural capital by suggesting that true appreciation is a birthright rather than an acquired skill.
The process of developing an Eye requires mastering an elaborate code of conduct that extends far beyond understanding art itself. Jack’s intense focus on Bosker’s appearance, behavior, and social connections demonstrates how developing an Eye is inseparable from performing the role of art world insider. As he told her before hiring her, “If you worked for me, I’d give you a dress code. Severe haircut. No jewelry” (37), suggesting that the ability to see art correctly is inexplicably linked to presenting oneself correctly. Even seemingly simple acts like complimenting artwork became fraught, with Jack warning Bosker to “avoid what might seem like superficial enthusiasm. Like, ‘Wow! That’s so cool!’ Just because that feels like empty enthusiasm, you know?” (38).
The text suggests that authentic artistic appreciation may be found through direct engagement with the creative process rather than theoretical understanding. This becomes evident during Bosker’s time with artist Julie Curtiss, who offers a more tangible approach to seeing art. While observing Julie work, Bosker notes, “Seeing the act of creation—the way a work doesn’t come out fully formed but grows by fits and starts—made me aware of how delicate and fragile an artwork was. How improbable it was that it existed” (92). This hands-on experience provides insights that theoretical knowledge alone cannot convey.
By documenting her journey to develop an Eye for art, Bosker exposes how the very concept of artistic discernment is entangled with social performance and institutional power. The text suggests that while genuine appreciation of art is possible, the current systems for developing this appreciation often reinforce existing hierarchies rather than foster true understanding.
The Art World’s Culture of Exclusivity, Hierarchy, and Secrecy
Bosker reveals how the contemporary art world maintains its power through carefully constructed barriers of exclusivity, hierarchical structures, and strategic opacity that serve to restrict access while maintaining the illusion of meritocracy. She observes that the art world’s deliberate use of obtuse language and insider terminology maintains the art world’s exclusivity. She highlights how critics “often wrote about the art in code” (12), making their language purposefully difficult to understand. This linguistic gatekeeping creates an artificial distinction between those who speak the “language” of art and those who don’t, reinforcing hierarchical divisions between insiders and outsiders.
Bosker learns that the geographic distribution of New York’s galleries physically manifest the art world’s hierarchical structure. As she discoveres, “The farther an artist’s work travels up the island of Manhattan, the more ensconced its place in art history” (50). She observes that emerging artists cluster in Chinatown, Tribeca, and the Lower East Side, while established galleries occupy Chelsea, and the most expensive art by famous artists resides in the Upper East Side galleries, with this upward trajectory culminating at the Metropolitan Museum of Art. This spatial arrangement creates a literal ladder of success that artists have to climb, reinforcing existing power structures through physical location.
The art world’s culture of secrecy extends even to basic business practices that would be transparent in other industries. Bosker notes that “the surest sign that a gallery is not serious is that it openly posts its prices” (43). Galleries deliberately obscure pricing, making it available only after potential buyers pass an informal screening process that evaluates their social status and art world connections. Bosker found that galleries operate with tiny nameplates that omitted helpful words like “art gallery,” and some spaces have no signage or web presence at all, with one gallery attendant dismissing public accessibility as “so corny.”
Bosker finds that the pervasive culture of exclusivity in the art world serves multiple purposes: It maintains the mystique that helps drive art valuations, preserves the power of established gatekeepers, and creates an aura of prestige that benefits those within the inner circle. As one art dealer candidly admits to her, “Things that pass for ethical in the art world would be criminal anywhere else” (11), suggesting that this culture of secrecy may also obscure questionable practices from public scrutiny. Ultimately, through her investigation of these practices, Bosker exposes how the art world’s culture of exclusivity, hierarchy, and secrecy serves not just to create mystique or maintain standards, but to preserve power structures that benefit established players while exploiting those seeking entry.
Why People Make and Buy Art
The economic motivations behind art creation and acquisition emerge as a complex thread throughout Bosker’s narrative. Through her work at Denny Dimin gallery, she reveals how artists often struggle financially despite creating works that sell for thousands of dollars. This economic precarity contrasts sharply with the wealth of many collectors, highlighting how making art remains a financially risky pursuit that often requires supplemental income or family support. Bosker’s detailed examination of gallery economics—from Elizabeth’s careful price calculations to the complex ecosystem of art fairs—demonstrates how the contemporary art market attempts to balance artistic merit with commercial viability. The author’s frank discussion of pricing strategies, including the practice of raising prices based on institutional recognition rather than production costs, illuminates how art’s monetary value often derives from social consensus rather than inherent qualities.
Beyond financial considerations, Bosker explores the deep psychological and social motivations driving both artists and collectors. While pure aesthetic attraction can fuel art acquisition, the text also examines how collecting art serves as a form of social signaling and status-building, with Bosker referencing sociologist Pierre Bourdieu’s theories about how art appreciation demonstrates cultural sophistication. For artists, the motivations prove equally complex—from Amanda Alfieri’s desire to critique social media culture through performance art to other artists’ pursuit of institutional recognition and canonical status. These varied motivations reveal how art creation and collection fulfill multiple human needs simultaneously: self-expression, social belonging, intellectual stimulation, and the desire to leave a lasting cultural legacy.
The social impact of art collecting becomes apparent in the Icy Gays’ approach to sharing their collection with their community in North Dakota. Rob explains their mission: “‘[T]hese straight white men and women that live in North Dakota who come into our house—’ Rob’s voice cracked. ‘Like, this is us’” (321). Their collection is a bridge between different social groups, using art to facilitate understanding and empathy across cultural divides. The transformative power of art is also evident in Rob’s emotional response to his collection, which fundamentally altered his sense of identity—as he states, “My identity? I would rather be someone that is an art collector than a surgeon, honestly” (322). This profound shift in self-perception demonstrates how art collecting can transcend professional achievements and reshape one’s core identity. Rob credits art with teaching him “to be true to who he is” (322), suggesting that collecting serves as a journey of self-discovery rather than merely accumulating objects.
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