Argp wrote:
Hi
sayantanc2k nightblade354 eakabuah GMATNinja GMATNinjatwo
I was confused between A and E, but I eventually picked E. My line of reasoning was that maybe it will not be possible always for the artist and manager to be able to communicate. For example: the painter was Da Vinci.
Whereas, in E, the problem of improper context is solved because there is a uniform context for every painting.
ArgpI must say you have a very interesting point. In the meantime, let's try to understand the argument and analyze answer choices A and E.
The conflict between an artist's work and the context within which it is placed is a traditional problem in aesthetics. Why? Too often a painter’s canvases have been hung in an improper context because the gallery managers have not understood what the painter envisioned as the work’s proper environment.
You would realize that the conflict spoken about is not generic. Why do I say the problem is not generic? Because every artist is unique, the context of the artwork of different artists cannot be the same. We can even argue that two artworks made by an artist may have different contexts. Of what use will an instruction of art gallery managers in the fine points of aesthetic theory be to the understanding of the context of a particular artwork? E will work if all artworks have a generic context and we just have a case of a misunderstanding between the art gallery managers and artists in general. This, however, is not the case. So you can clearly see why E is not appropriate.
Now A says that bring artists and gallery managers into closer contact, so as to increase the artist’s input into the way the exhibit is held. Artist A has a specific context associated with his artwork XYZ; he explains the context to the art gallery manager. The art gallery manager takes this into consideration, and he or she resolves the problem.
Back to your interesting point. Da Vinci is dead, how do we bring him back to tell us about the context of his painting? I would say we can refer to his memoir on each of his artworks. That would pretty give us the context of each artwork. That's why B kind of looks interesting but it doesn't resolve the problem since the brochure is presented at the exhibit and not that it is given to the art gallery manager so that he/she can display the artwork in compliance with the context of the artist.
My advice: don't overthink. Focus on understanding the stimulus, as it goes a long way to help you to eliminate the wrong options.
Hope this is somehow helpful in clearing your doubts.