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

Bosker describes her experiences at Miami Art Week, a major gathering of art fairs, galleries, and collectors. The chapter begins with her efforts to manage an overwhelming schedule of exclusive events, parties, and viewings. As a gallery assistant for Denny Dimin Gallery, she attends Art Basel Miami Beach and its satellite fairs, learning about the complex hierarchy of VIP access and social status in the art world.

Bosker works at the Untitled art fair, helping gallerists Elizabeth and Rob sell photographs by artist Erin O’Keeffe. Initially unsuccessful at sales, Bosker struggles to discuss the artwork meaningfully, relying too heavily on historical references rather than engaging directly with the pieces. She gains insight into effective art sales techniques by observing her colleagues, including the importance of discussing the artwork itself before moving to contextual information about the artist.

Bosker explores the economic aspects of the art market, explaining how galleries price artwork and manage sales. She learns that prices often stem from comparisons with similar artists, and that galleries frequently offer different discounts to different buyers, such as museums or art advisors.

The narrative also examines the role of beauty in contemporary art. Bosker references scientific research suggesting humans have innate aesthetic preferences, such as favoring curved shapes and certain colors. This leads her to question the art world’s dismissal of beauty and to recognize its potential therapeutic value.

As Miami Art Week progresses, Bosker’s understanding of art deepens, and she successfully sells several pieces. She describes the transformation of her sales approach and her growing appreciation for challenging, unconventional artwork. She reflects on the art market’s imperfect but necessary role in supporting artists, illustrated by her colleague’s observation that each sale helps artists continue their work.

Bosker receives a promotion to Assistant Director at Denny Dimin Gallery following her successful work at Art Basel Miami. Her expanded responsibilities include managing client relationships, coordinating art fair applications, and continuing to learn from Elizabeth and Rob. Despite her growing comfort in the role, Bosker remains aware that her position might have been partially influenced by her status as a writer.

Seeking to broaden her understanding of contemporary art, Bosker attends an unconventional performance piece by artist Mandy ALLFIRE at a small gallery in Queens. The performance involves ALLFIRE sitting on audience members’ faces while reading messages from her social media followers. Despite initial hesitation, Bosker participated in the performance, an experience that prompts her to investigate the boundaries between art and non-art.

Through subsequent conversations with Elizabeth and meetings with ALLFIRE (whose real name was Amanda Alfieri), Bosker learns about the artist’s background and artistic intentions. Alfieri developed an online persona with hundreds of thousands of followers who appreciate photos of her butt. She views this social media presence as a form of performance art examining contemporary beauty standards and social media culture.

Bosker uses Alfieri’s work as a launching point to examine fundamental questions about art’s definition. She discovers that the distinction between “fine art” and “craft” emerged relatively recently in European culture, around the 1760s. Before this period, art encompassed any skilled human activity. The modern Western concept of art as something to be contemplated rather than used developed alongside social changes, including the rise of museums, art criticism, and a new middle class.

The chapter explores various theoretical approaches to defining art, from essentialist views focusing on formal properties to institutional theories dependent on expert recognition. Bosker considers evolutionary perspectives suggesting that artistic expression might serve biological and social functions, helping communities bond and survive. She engages with scholar Ellen Dissanayake’s theory that art emerges when ordinary experiences are transformed into extraordinary ones through specific creative processes.

Through her investigation of Alfieri’s work and art theory, Bosker develops a more nuanced understanding of art’s nature. She concludes that art exists as an agreement between creator and audience, requiring both the artist’s intention and the viewer’s engagement. While she remains uncertain about judging art’s quality, she recognizes that work that prompts deep questioning about society, beauty, and human nature might qualify as meaningful art, regardless of its form or context.

Bosker works at art fairs and galleries during the winter and spring months. She discovers that art fairs, despite being criticized by industry insiders, remained crucial networking and sales events. Her boss Elizabeth struggles after an unsuccessful fair in San Francisco, noting that wealthy Silicon Valley residents aren’t engaging with the art market as expected.

During this period, Bosker develops an interest in curating exhibitions, though she feels uncertain about her ability to judge artistic quality. To address this uncertainty, she joins a critique group called Crit Club, in which artists discuss their work. Rather than focusing on whether pieces are “good” or “bad,” the artists explore nuanced aspects of their work’s meaning and impact.

The chapter provides insight into the financial realities of running an art gallery. Bosker learns that exhibitions often served as marketing tools rather than direct revenue sources. The gallery sustains itself by selling older inventory and prints that aren’t on display. She also observes that galleries frequently rely on sales from a small subset of their represented artists.

Bosker discusses privilege’s role in the art world, particularly regarding gallery ownership. Her colleague Rob acknowledges that his success stems partly from family wealth and social connections. The industry’s financial barriers contribute to racial disparities: Among the Art Dealers Association of America’s 176 members, only one is African American.

Bosker receives an opportunity to co-curate a show for Danny Dimin’s Hong Kong gallery space. While working on this project, she interviews Whitney Museum curator Rujeko Hockley about the curatorial process. Hockley emphasizes that curating is inherently subjective, challenging Bosker’s desire for objective criteria in evaluating art.

The chapter concludes with Bosker’s decision to leave the gallery and attend the School of the Alternative in North Carolina. This experimental art school offers unconventional approaches to artistic creation and thinking. Though initially uncomfortable, Bosker begins to appreciate their value in expanding her understanding of artistic practice. She realizes that comprehending artists’ creative processes requires more than just observing their work in galleries or during studio visits.