Lifestyle
How the art world excludes you and what you can do about it
In her new book Get the Picture, journalist Bianca Bosker explores why connecting with art sometimes feels harder than it has to be. Above, a visitor takes in paintings at The Royal Academy Summer Exhibition in London in 2010.
Peter Macdiarmid/Getty Images
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Peter Macdiarmid/Getty Images
In her new book Get the Picture, journalist Bianca Bosker explores why connecting with art sometimes feels harder than it has to be. Above, a visitor takes in paintings at The Royal Academy Summer Exhibition in London in 2010.
Peter Macdiarmid/Getty Images
When Bianca Bosker told people in the art world she’d be writing a tell-all about their confounding, exclusive ecosystem, “bad idea,” they responded.
“They didn’t come right out and threaten my safety or anything,” she writes in Get the Picture, “My reputation, well-being, and livelihood as a journalist —that, however, was another story.” Judging from the book’s recent reviews, she need not worry too much.
Bosker’s motivation for writing the book was partly frustration. “I didn’t know how to have a meaningful experience of art and that bothered me,” she tells me, “But also like I think the art fiends that I got to know, it’s not just that they look at art differently. They behave sort of like they’ve accessed this trapdoor in their brains and I envied that.”
Other journalists might have relied on research and interviews. Bosker went gonzo. She spent five years immersed in the New York art scene, working as a gallery assistant and helping artists in their studios. After getting a license to be a security guard with the state of New York, she got a guard job at the Guggenheim.
Bosker didn’t necessarily set out to write a takedown of the art world, though the result is pretty much just that. She writes about the time a performance artist sat on her face. And recounts a conversation with a dealer who said her mere presence (he didn’t like her clothes) was “lowering my coolness.” It’s unvarnished, awkward and eye-opening.
Borderline hostile
“Working at galleries, I became initiated into the way that the art world wields strategic snobbery to keep people out. And I think it’s deliberate and I think it’s unnecessary,” says Bosker.
Take the wall texts you often see at art museums. While they might be well-intentioned, Bosker believes they’re part of an over-emphasis on context.
“For the last 100 years or so, we’ve been told that what really matters about an artwork is the idea behind it.” Bosker says that “art connoisseurs” were very interested in “where an artist went to school, who owns her work, what gallery had shown it, who he slept with” and was surprised by “how little [time they] actually spent discussing the work itself.”
Of those wall labels, “I thought they were annoying, like borderline hostile … they just drove me crazy.”
At a recent visit to the Guggenheim, we saw one that included the phrase:
“…practice explores the liminal spaces of human consciousness…”
Bosker shudders. “If I had a dollar for every time someone in the art world used the word ‘liminal,’” she laughs. One artist she worked with told her, “‘Reading the wall labels is like you’re trying to have a conversation with the artwork, but someone keeps interrupting.’”
As a museum guard, Bosker occasionally took the matter into her own hands.
“I would actually try and stand in front of the wall labels so that people wouldn’t just fall back on the approved interpretations. They would challenge themselves and really wrestle with their own eye, which is so strong,” she says.
Small galleries deliberately keep out the ‘schmoes‘
If museums make some people feel unwelcome, Bosker learned that small, contemporary art galleries can be even worse. One that we visited in downtown Manhattan was hard to find. That’s typical, Bosker explains.
She says a lot of galleries “deliberately … hide themselves from the general public … I worked for someone who referred to general public as ‘Joe Schmoes’ and I think there are a lot of ways to keep out the schmoes, and where you put your gallery is a big one.”
Now, to be fair, those galleries are in the business of selling art.
Gallery owner Robert Dimin likes that Bianca Bosker is unmasking “our opaque art world” with her new book Get the Picture.
DIMIN
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DIMIN
Rob Dimin, another gallery owner Bosker worked for, does not refer to the general public as “schmoes” but he does like that his new gallery is tucked away. It’s on the second floor of a building with just a small plaque by the entrance.
Dimin’s last gallery was a storefront. “You [were] more likely to get people that had no intention or idea about the art or really interested in the art, just maybe kind of stumbling in,” he says, “There [were] moments when we were on the street level that people would come in and just have phone conversations on rainy days because it was an open space.”
People walking into a gallery to get out of the rain aren’t usually interested in buying art. But Dimin admits that the art world is “opaque” and he’s glad Bosker is unmasking it. There are parts of it even he doesn’t understand.
“Even as an art dealer, it sometimes is confusing,” he says, “Like, why is X, Y and Z artists getting acquired by every museum and having these museum shows? What is challenging for a person like me who’s been in this business for 10 years, I can only imagine a person not within the industry having more challenges.”
How to have a meaningful experience with art
Intentionally confusing, elitist, cloistered. While Bosker’s new book likens the art world to a “country club,” she says her feelings about art itself haven’t been diminished.
“Seeing artists in their studios agonize over the correct color blue, over … the physics of making something stick, lay and stay, really convinced me that everything we need to have a meaningful experience with art is right in front of us,” says Bosker.
Bianca Bosker takes a close look at a work by Julianne Swartz at the gallery Bienvenu Steinberg & J in New York. Bosker says it’s OK to “walk around a sculpture … just don’t touch it.”
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Elizabeth Blair/NPR
Bianca Bosker takes a close look at a work by Julianne Swartz at the gallery Bienvenu Steinberg & J in New York. Bosker says it’s OK to “walk around a sculpture … just don’t touch it.”
Elizabeth Blair/NPR
Here are a few tips she has for readers looking to evade the snobbery:
Slow down
“My philosophy had always been when I went to a museum … a scorched earth approach to viewing. I was like, ‘You have to see everything. That is how you get your money’s worth.’” Bosker says “museum fatigue” is real and compares it to eating everything at an all you can eat buffet. “No wonder you feel a little ill at the end of it.”
“If you find one work and you just spend your entire half hour, hour, hour and a half at that piece, you’ve done it. And I think that that can be oftentimes an even more meaningful experience.”
Find five things
“An artist that I spent time with encouraged me to, in front of an artwork, challenge yourself to notice five things. And those five things don’t have to be grandiose, like: ‘This is a commentary on masculinity in the Internet age.’ It could just be, you know, like this yellow makes me want to touch it.” Taking the time to notice those things will help viewers think about the choices an artist has made, Bosker believes.
“I think being around art ultimately helps us widen and expand our definition of what beauty is. And I think beauty … is that moment when our mind jumps the curb. It can feel uncomfortable, but it also is something that draws us to it. … It’s something that all of us need more of in our life. And art can be the gateway to finding more of it. It doesn’t have to happen with the traditionally beautiful artwork.”
Get as close to the source as possible
“What we see when we go to a museum is not necessarily the best that culture has to offer. … It’s the result of many decisions by flawed human beings. And one way to get around that is to widen your horizons. … Go to see art at art schools, go see art at the gallery in a garage and just kind of go close to the source.”
This story was edited for audio and digital by Rose Friedman. The web page was produced by Beth Novey.
Online prediction market platforms allow people to place bets on wide-ranging subjects such as sports, finance, politics and currents events.
Photo Illustration by Scott Olson/Getty Images
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Photo Illustration by Scott Olson/Getty Images
The rise of prediction markets means you can now bet on just about anything, right from your phone. Apps like Kalshi and Polymarket have grown exponentially in President Trump’s second term, as his administration has rolled back regulations designed to keep the industry in check. Billions of dollars have flooded in, and users are placing bets on everything from whether it will rain in Seattle today to whether the US will take over control of Greenland. Who’s winning big on these apps? And who is losing? NPR correspondent Bobby Allyn joins The Sunday Story to explain how these markets came to be and where they are going.
This episode was produced by Andrew Mambo. It was edited by Liana Simstrom and Brett Neely. Fact-checking by Barclay Walsh and Susie Cummings. It was engineered by Robert Rodriguez.
We’d love to hear from you. Send us an email at TheSundayStory@npr.org.
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Now you can pair your big show with dinner and a more intimate listening experience. The Hollywood Palladium, an Art Deco music venue graced by performers like Frank Sinatra, Richard Pryor, Jimi Hendrix, Lady Gaga and Jay-Z since 1940, has debuted a swanky lounge known as Vinyl Room.
Inspired by 1970s Japanese high-fidelity (hi-fi for short) listening rooms and operated by entertainment company Live Nation, it’s a space where concertgoers can have dinner, grab drinks and catch a vinyl DJ set before, during or after their ticketed event in the same venue.
With a name like Vinyl Room, you can expect to see vinyl records everywhere.
“You’re in [for] a whole night of music,” says Geni Lincoln, president of the California region for Live Nation, adding that her team put “so much thought” into the sound and design of the space, which was in development for more than two years.
“I’ve been coming to the Palladium since I was a teenager, so it’s really special to see,” she says.
Entering Vinyl Room feels like you’re stepping into a secret speakeasy for music lovers, one with iconic music memorabilia, a thoughtful food menu and premium sound quality. Want to check it out? Here are five things to know.
Everything inside of Vinyl Room is inspired by the sounds and the musicians who’ve played at the Hollywood Palladium since 1940.
1. Vinyl Room is exclusively open to members and concertgoers with an upgraded ticket
Vinyl Room is open only on Hollywood Palladium show nights, starting 90 minutes before doors open, and remains open one hour after the concert. Admission is limited to concertgoers who purchase a ticket upgrade, which starts at $35. Early reservations are recommended.
Vinyl Room also offers annual membership packages, which start at $2,000 and come with various benefits such as complimentary guest passes to Vinyl Room, access to an exclusive menu, valet parking, table reservations inside the lounge, a dedicated private entry, complimentary coat check and concert ticket credits.
Tip Dunn, also known as DJ tenSpeed, played records during opening night at Vinyl Room at the Hollywood Palladium.
2. Hi-fi is having a moment in Los Angeles — and Vinyl Room delivers on sound quality
From Common Wave Hi-Fi in Boyle Heights to Slow Jamz Gallery in the Arts District and Gold Line bar in Highland Park, hi-fi — a 1950s term used to describe the high-quality reproduction of sound — venues and experiences have been slowly popping up around L.A. over the last few years. Vinyl Room joins a short list of places where audiophiles can go to listen to music on hi-fi equipment, which many argue is the best way to experience it.
Much like the Hollywood Palladium, which is known for its top-tier sound, Vinyl Room also makes sound a priority. The lounge utilizes hi-fi sound equipment including Master Sounds Clarity-M speakers to ensure that the records sound as crisp as possible. Live DJs spin records on a set of turntables, which helps to create a richer and more analog sound that is closer to the original track than compressed versions such as MP3s.
Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”
3. All of the decor ties back to music and the Hollywood Palladium’s rich history
With a name like Vinyl Room, you can expect to see vinyls everywhere. Records line most of the walls and shelves, drinks are served on vinyl-shaped coasters and tables and light fixtures are designed to the theme. There’s even vinyl wallpaper in the photo booth. In one corner of the lounge, you can dig through records under a neon sign that reads, “But have you heard it on vinyl?”
Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”
Some standout items include a Red Hot Chili Peppers show flier, a Hollywood Palladium postcard signed by late musician and host Lawrence Welk and a photo of late singers Bonnie Baker and Orrin Tucker at the venue. Even the bathroom creates a memorable photo moment: The stalls are filled with photos of musicians and an “on air” studio sign lights up when a stall is occupied.
Vinyl Room’s menu, created by Chef Ryan DeRieux, is inspired by Asian flavors and includes items like the “Vinyl Roll,” which is made with spicy tuna.
4. Don’t worry about dinner plans before or after the show. Vinyl Room has got you covered
Eliminating the need to find a pre- or post-show restaurant, Vinyl Room has a full Asian-inspired menu created by Chef Ryan DeRieux.
Think sushi tots (like crispy tuna but with tater tots instead of rice), tuna poke nachos, chili crunch chicken wings and shiitake tempura burgers. There’s also a mouth-watering 10-ounce American wagyu skirt steak served with shishito peppers, pickles and charred carrots. For dessert, try the taiyaki, a popular fish-shaped Japanese street food, which is served with a delicious passion fruit cream that I wanted to take to go because I liked it so much.
Signature cocktails at Vinyl Room, inspired by popular songs, include the Superfly, Escape (if you like piña coladas) and Smoke on the Water.
5. The craft cocktails aren’t just delicious — they each have a story
Vinyl Room’s old-fashioned is made with Nikka Yoichi whisky, which is made in Japan.
The cocktail program, developed by third-generation bartender Sean Kenyon, is inspired by the songs created by musicians who’ve graced the Hollywood Palladium stage. A nod to the 1970s, the Superfly is a fizzy, citrus-forward play on Curtis Mayfield’s 1972 track and is made with Roku Gin and yuzu and sencha syrup. Other signature drinks include the rum-based Escape (if you like piña coladas) with coconut oolong syrup, pineapple juice and miso, and the tart yet sweet Smoke on the Water, which is reminiscent of Deep Purple’s 1972 song. The bar also offers an espresso martini (called the MT Joy), a signature old-fashioned (made with Nikka Yoichi whisky) and a Japanese whiskey highball (made with Hibiki Harmony whisky). The bar offers a number of non-alcoholic options as well.
A screenshot from George Mélière’s Gugusse et l’Automate. The pioneering French filmmaker’s 1897 short, which likely features the first known depiction of a robot on film, was thought lost until it was found among a box of old reels that had belonged to a family in Michigan and restored by the Library of Congress.
The Frisbee Collection/Library of Congress
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The Frisbee Collection/Library of Congress
The Library of Congress has found and restored a long-lost silent film by Georges Méliès.
The famed 19th century French filmmaker is best known for his groundbreaking 1902 science fiction adventure masterpiece Le Voyage dans la Lune (A Trip to the Moon).
The 45-second-long, one-reel short Gugusse et l’Automate – Gugusse and the Automaton – was made nearly 130 years ago. But the subject matter still feels timely. The film, which can be viewed on the Library of Congress’ website, depicts a child-sized robot clown who grows to the size of an adult and then attacks a human clown with a stick. The human then decimates the machine with a hammer.
In an Instagram post, Library of Congress moving image curator Jason Evans Groth said the film represents, “probably the first instance of a robot ever captured in a moving image.” (The word “robot” didn’t appear until 1921, when Czech dramatist Karel Čapek coined it in his science fiction play R.U.R..)
“Today, many of us are worried about AI and robots,” said archivist and filmmaker Rick Prelinger, in an email to NPR. “Well, people were thinking about robots in 1897. Very little is new.”
A long journey
Groth said the film arrived in a box last September from a donor in Michigan, Bill McFarland. “Bill’s great grandfather, William Frisbee, was a person who loved technology,” Groth said. “And in the late 19th century, must have bought a projector and a bunch of films and decided to drive them around in his buggy to share them with folks in Pennsylvania, Ohio, New York.”
McFarland didn’t know what was on the 10 rusty reels he dropped off at the Library of Congress’ National Audio-Visual Conservation Center in Culpeper, Va. A Library article about the discovery describes the battered, pre-World War I artifacts as having been, “shuttled around from basements to barns to garages,” and that they, “could no longer be safely run through a projector,” owing to their delicate condition. “The nitrate film stock had crumbled to bits on some; other strips were stuck together,” the article said. It was a lab technician in Michigan who suggested McFarland contact the Library of Congress.
“The moment we set our eyes on this box of film, we knew it was something special,” said George Willeman, who heads up the Library’s nitrate film vault, in the article.
Willeman’s team carefully inspected the trove of footage, which also contained another well-known Méliès film, Nouvelles Luttes extravagantes (The Fat and Lean Wrestling Match) and parts of The Burning Stable, an early Thomas Edison work. With the help of an external expert, they identified the reel as having been created by Méliès because it features a star painted on a pedestal in the center of the screen – the logo for Méliès Star Film Company.
A pioneering filmmaker
Méliès was one of the great pioneers of cinema. The scene in which a rocket lands playfully in the eye of Méliès’ anthropomorphic moon in Le Voyage dans la Lune is one of the most famous moments in cinematic history. And he helped to popularize such special effects as multiple exposures and time-lapse photography.
This moment from George Méliès’ Le Voyage dans la Lune (A Trip to the Moon) is considered to be one of the most famous in cinematic history.
George Méliès/Public Domain
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George Méliès/Public Domain
Presumed lost until the Library of Congress’s discovery, Gugusse et L’Automate loomed large in the imaginations of science fiction and early cinema buffs for more than a century. In their 1977 book Things to Come: An Illustrated History of the Science Fiction Film, authors Douglas Menville and R. Reginald described Gugusse as possibly being, “the first true SF [science fiction] film.”
“While it may seem that no more discoveries remain to be made, that’s not the case,” said Prelinger of the work’s reappearance. “Here’s a genuine discovery from the early days of film that no one anticipated.”
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