Get the Picture: A Mind-Bending Journey Among the Inspired Artists and Obsessive Art Fiends Who Taught Me How to See

“The Opening” illustrates the theme of Developing an Eye for Art through Bosker’s personal transformation during the COVID-19 lockdown. Her journey from art appreciation to active artistic engagement demonstrates how isolation catalyzed a deeper understanding of artistic perception. The author’s experiments with gouache painting and FaceTime drawing sessions with artist Liz Ainslie reveal how artistic practice enhances observational skills. Particularly striking is Bosker’s description of learning to see everyday objects anew: 

And then, in the shower one morning, time suddenly slowed: In the warm glow of the early sun, I caught sight of individual droplets of water glittering with tiny rainbows. My breath caught in my throat. Why had I never noticed that before? Could I ever again? (337). 

She feels similarly dazzled in the frozen food aisle of a grocery store: “My eyes felt like they were quivering in their sockets as they gorged on the surreal, hyper-rainbow BUY ME absurdity of the scene. The dancing nuggets and erupting popsicles, the canoodling apple blintzes” (338). These experiences mark an important point in Bosker’s journey, demonstrating how her deep forays into the art world altered her perception of the world.

The theme of The Art World’s Culture of Exclusivity, Hierarchy, and Secrecy emerges through Bosker’s critical examination of institutional gatekeeping. The text reveals how established museums and galleries create layers of vetting that can exclude worthy artists. The author’s growing preference for “upstart galleries tucked under sidewalks” and open studio events demonstrates a rejection of traditional art world hierarchies (342). This section critiques how institutional biases influence which artists receive recognition and representation.

Regarding Why People Make and Buy Art, the chapter explores various motivations through multiple figures. The narrative includes collectors purchasing art to fill new homes outside the city, artists like Amanda ALLFIRE adapting their practice for commercial success on platforms like OnlyFans, and Julie finding solace in artistic creation during isolation. These diverse examples illustrate how art serves both commercial and personal purposes while highlighting how economic pressures influence artistic decisions.

The author employs several literary devices to enhance the narrative. Metaphorical language features prominently, particularly in comparing art viewing to physical hunger: “My hunger to see art felt physical, less a desire than a need” (334). She also comes to describe beauty as “the moment your mind jumps the curb” (338), conveying the visceral nature of artistic experience.

Historical context plays a crucial role in this concluding chapter, as Bosker connects her pandemic experience to her grandmother’s post-war adaptation to a new world. This parallel illustrates how art can help people navigate dramatic social changes. The author’s references to artists like Brancusi and Warhol also demonstrate how historical artistic perspectives inform contemporary viewing practices.

The text’s analytical framework centers on the intersection of personal experience and institutional critique, demonstrating how individual artistic growth can lead to questioning established systems. Through this dual lens, Bosker effectively argues for a more democratic and accessible approach to art appreciation while acknowledging the transformative power of artistic engagement. The chapter’s conclusion synthesizes personal transformation with broader cultural commentary. Bosker’s evolution from questioning the nature of art to embracing a more expansive definition of it reflects larger shifts in contemporary art appreciation.