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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Lu par :
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Bianca Bosker
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Bianca Bosker
À propos de cette écoute
AN INSTANT NEW YORK TIMES BESTSELLER
NAMED A BEST BOOK OF 2024 BY NPR, TIME, AND THE ECONOMIST
“Get the Picture is one of the funniest books I’ve read . . . Brilliant.”—The Washington Post
“A gripping and often hilarious investigation into the art world. . . . Bosker goes full Tom Wolfe.”—TIME
“Funny, whip-smart, and gorgeously written, Get the Picture will forever transform the way you see. . . . I loved every word.”—Suleika Jaouad, New York Times bestselling author of Between Two Kingdoms
The New York Times bestselling author of Cork Dork takes readers on another fascinating, hilarious, and revelatory journey—this time burrowing deep inside the secretive world of art and artists
An award-winning journalist obsessed with obsession, Bianca Bosker’s existence was upended when she wandered into the art world—and couldn’t look away. Intrigued by artists who hyperventilate around their favorite colors and art fiends who max out credit cards to show hunks of metal they think can change the world, Bosker grew fixated on understanding why art matters and how she—or any of us—could engage with it more deeply.
In Get the Picture, Bosker throws herself into the nerve center of art and the people who live for it: gallerists, collectors, curators, and, of course, artists themselves—the kind who work multiple jobs to afford their studios while scrabbling to get eyes on their art. As she stretches canvases until her fingers blister, talks her way into A-list parties full of billionaire collectors, has her face sat on by a nearly-naked performance artist, and forces herself to stare at a single sculpture for hours on end while working as a museum security guard, she discovers not only the inner workings of the art-canonization machine but also a more expansive way of living.
Probing everything from cave paintings to Instagram, and from the science of sight to the importance of beauty as it examines art’s role in our culture, our economy, and our hearts, Get the Picture is a rollicking adventure that will change the way you see forever.
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Commentaires
“[Bosker] has written a dark comedy of manners, and what she exposes here might be a new kind of country club mentality, where the cultural elite can no longer exclude people based on race, gender or sexual identity, so they come up with clever new ways to build moats around their little castles. . . . Get the Picture is one of the funniest books I’ve read about New York’s contemporary art scene . . . Brilliant.”—The Washington Post
“[A] plucky and hilarious account of years working as a gallery girl, studio assistant, and guard at the Guggenheim museum . . . [Bosker] doesn’t sit with and sift through her material so much as plunge headlong into it, gatecrashing cloistered ecosystems that want nothing to do with her, and emerging as a foremost expert.”—The Guardian
“Through her funny and fascinating experiences, [Bosker] does the seemingly impossible: sheds light on a strange world of beautiful things and the sometimes-ugly business around them.”—Town & Country
Ce que les auditeurs disent de Get the Picture
Moyenne des évaluations utilisateurs. Seuls les utilisateurs ayant écouté le titre peuvent laisser une évaluation.Commentaires - Veuillez sélectionner les onglets ci-dessous pour changer la provenance des commentaires.
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Global
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Interprétation
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Histoire
- Philippe L.
- 28/06/2024
transparency on the art world
This work deflates many myth and gives a fun and realistic, sometime romanticized view of the art world. Highly recommended.
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Global
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Interprétation
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Histoire
- Pierre Gauthier
- 18/09/2024
Very Disappointing!
In this book, the author does not talk so much about art as about herself. The result is anecdotal, subjective and superficial. No data is provided as to how many galleries exist, how many works are sold yearly, how many persons live as artists, who buys art, how auctions function, etc. « Research » strictly consists in the writer’s stints as an intern or as support staff with four or five employers in New York City, the single focus of the book.
This raises a series of questions:
• Are the places where the author worked representative of a whole milieu?
• Were her interlocutors candid, given the author introduced herself from the start as a journalist?
• Are their words and attitudes reported without any bias or embellishment?
• Why would a museum attendant at the Guggenheim learn about art any more than a security guard at the United Nations about diplomacy and international relations?
The author’s journey ends abruptly in March 2020 with the Covid lockdown (which is bizarrely compared to the Holocaust). There is no explanation as to why the book was only published in 2024.
It is pertinent to point out that the author clearly considers it chic to be foul-mouthed and that editing is sadly deficient. « Precocious » for instance is used nonsensically and the subway is absent-mindedly qualified as « pedestrian ».
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