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Updated on: 05 Sep 2019, 01:33
Originally posted by gmat1393 on 13 Oct 2018, 20:10.
Last edited by Sajjad1994 on 05 Sep 2019, 01:33, edited 1 time in total.
Last edited by Sajjad1994 on 05 Sep 2019, 01:33, edited 1 time in total.
Updated - Complete topic (422).
Kudos
Bookmarks
Question 1
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
55%
(hard)
Question Stats:
53% (02:58) correct
47%
(03:11) wrong
based on 555
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
B
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
45%
(medium)
Question Stats:
60% (01:18) correct 40%
(01:30) wrong
based on 609
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
95%
(hard)
Question Stats:
29% (01:36) correct 71%
(01:24) wrong
based on 595
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
55%
(hard)
Question Stats:
53% (01:06) correct 47%
(01:18) wrong
based on 555
sessions
History
Date
Time
Result
Not Attempted Yet
“Strange Bedfellows!” lamented the title of a recent letter to Museum News, in which a certain Harriet Sherman excoriated the National Gallery of Art in Washington for its handling of tickets to the much-ballyhooed “Van Gogh’s van Goghs” exhibit. A huge proportion of the 200,000 free tickets were snatched up by homeless opportunists in the dead of winter, who then scalped those tickets at $85 apiece to less hardy connoisseurs.
Yet, Sherman’s bedfellows are far from strange. Art, despite its religious and magical origins, very soon became a commercial venture. From bourgeois patrons funding art they barely understood in order to share their protegee’s prestige, to museum curators stage-managing the cult of artists in order to enhance the market value of museum holdings, entrepreneurs have found validation and profit in big-name art. Speculators, thieves, and promoters long ago created and fed a market where cultural icons could be traded like commodities.
This trend toward commodification of high-brow art took an ominous, if predictable, turn in the 1980's during the Japanese “bubble economy.” At a time when Japanese share prices more than doubled, individual tycoons and industrial giants alike invested record amounts in some of the West’s greatest masterpieces. Ryoei Saito, for example, purchased van Gogh’s Portrait of Dr. Gachet for a record-breaking $82.5 million. The work, then on loan to the Metropolitan Museum of Modern Art, suddenly vanished from the public domain. Later learning that he owed the Japanese government $24 million in taxes, Saito remarked that he would have the paining cremated with him to spare his heirs the inheritance tax. This statement, which he later dismissed as a joke, alarmed and enraged many. A representative of the Van Gogh museum, conceding that he had no legal redress, made an ethical appeal to Mr. Saito, asserting, “a work of art remains the possession of the world at large.”
Ethical appeals notwithstanding, great art will increasingly devolve into big business. Firstly, great art can only be certified by its market value. Moreover, the “world at large” hasn’t the means of acquisition. Only one museum currently has the funding to contend for the best pieces–the J. Paul Getty Museum, founded by the billionaire oilman. The art may disappear into private hands, but its transfer will disseminate once static fortunes into the hands of various investors, collectors, and occasionally the artist.
Yet, Sherman’s bedfellows are far from strange. Art, despite its religious and magical origins, very soon became a commercial venture. From bourgeois patrons funding art they barely understood in order to share their protegee’s prestige, to museum curators stage-managing the cult of artists in order to enhance the market value of museum holdings, entrepreneurs have found validation and profit in big-name art. Speculators, thieves, and promoters long ago created and fed a market where cultural icons could be traded like commodities.
This trend toward commodification of high-brow art took an ominous, if predictable, turn in the 1980's during the Japanese “bubble economy.” At a time when Japanese share prices more than doubled, individual tycoons and industrial giants alike invested record amounts in some of the West’s greatest masterpieces. Ryoei Saito, for example, purchased van Gogh’s Portrait of Dr. Gachet for a record-breaking $82.5 million. The work, then on loan to the Metropolitan Museum of Modern Art, suddenly vanished from the public domain. Later learning that he owed the Japanese government $24 million in taxes, Saito remarked that he would have the paining cremated with him to spare his heirs the inheritance tax. This statement, which he later dismissed as a joke, alarmed and enraged many. A representative of the Van Gogh museum, conceding that he had no legal redress, made an ethical appeal to Mr. Saito, asserting, “a work of art remains the possession of the world at large.”
Ethical appeals notwithstanding, great art will increasingly devolve into big business. Firstly, great art can only be certified by its market value. Moreover, the “world at large” hasn’t the means of acquisition. Only one museum currently has the funding to contend for the best pieces–the J. Paul Getty Museum, founded by the billionaire oilman. The art may disappear into private hands, but its transfer will disseminate once static fortunes into the hands of various investors, collectors, and occasionally the artist.
1. Which of the following would be the most appropriate title for the passage?
A. Art of Art’s Sake: A Japanese Ideal
B. Van Gogh: Breaking New Ground
C. Museums and the Press: Strange Bedfellows
D. Money vs. Art: An Ethical Mismatch
E. Great Art: Business as Usual
2. It can be inferred from the passage that Harriet Sherman would be most likely to agree with which of the following statements regarding admission to museum exhibits?
A. Tickets should be available on a first-come-first-served basis.
B. Those with a genuine interest in art should not have to pay inflated prices.
C. Museums need the income from ticket sales in order to buy great art.
D. Tickets should be distributed without prior announcement.
E. No one should be able to purchase more than one or two tickets.
3. The passage supplies information for answering which of the following questions?
A. Who owned van Gogh’s Portrait of Dr. Gachet prior to its purchase by Saito?
B. Where did Saito exhibit van Gogh’s Portrait of Dr. Gachet?
C. Which museum proposed to purchase van Gogh’s Portrait of Dr. Gachet from Saito?
D. Did the Van Gogh Museum threaten legal action in response to reports that Saito intended to destroy van Gogh’s Portrait of Dr. Gachet?
E. Did Saito actually intend to destroy van Gogh’s Portrait of Dr. Gachet?
4. The author of the passage mentions which of the following connections between art and business?
I. Entrepreneurs sometimes try to enhance their reputations by supporting artists.
II. Artworks are often bought and sold as investments.
III. Great artworks can best be recognized by their high market value.
A. I
B. II
C. I and II only
D. III
E. I,II, and III
A. Art of Art’s Sake: A Japanese Ideal
B. Van Gogh: Breaking New Ground
C. Museums and the Press: Strange Bedfellows
D. Money vs. Art: An Ethical Mismatch
E. Great Art: Business as Usual
2. It can be inferred from the passage that Harriet Sherman would be most likely to agree with which of the following statements regarding admission to museum exhibits?
A. Tickets should be available on a first-come-first-served basis.
B. Those with a genuine interest in art should not have to pay inflated prices.
C. Museums need the income from ticket sales in order to buy great art.
D. Tickets should be distributed without prior announcement.
E. No one should be able to purchase more than one or two tickets.
3. The passage supplies information for answering which of the following questions?
A. Who owned van Gogh’s Portrait of Dr. Gachet prior to its purchase by Saito?
B. Where did Saito exhibit van Gogh’s Portrait of Dr. Gachet?
C. Which museum proposed to purchase van Gogh’s Portrait of Dr. Gachet from Saito?
D. Did the Van Gogh Museum threaten legal action in response to reports that Saito intended to destroy van Gogh’s Portrait of Dr. Gachet?
E. Did Saito actually intend to destroy van Gogh’s Portrait of Dr. Gachet?
4. The author of the passage mentions which of the following connections between art and business?
I. Entrepreneurs sometimes try to enhance their reputations by supporting artists.
II. Artworks are often bought and sold as investments.
III. Great artworks can best be recognized by their high market value.
A. I
B. II
C. I and II only
D. III
E. I,II, and III
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16 Oct 2018, 22:43
Kudos
Bookmarks
gmat1393
“Strange Bedfellows!” lamented the title of a recent letter to Museum News, in which a certain Harriet Sherman excoriated the National Gallery of Art in Washington for its handling of tickets to the much-ballyhooed “Van Gogh’s van Goghs” exhibit. A huge proportion of the 200,000 free tickets were snatched up by homeless opportunists in the dead of winter, who then scalped those tickets at $85 apiece to less hardy connoisseurs.
Yet, Sherman’s bedfellows are far from strange. Art, despite its religious and magical origins, very soon became a commercial venture. From bourgeois patrons funding art they barely understood in order to share their protegee’s prestige, to museum curators stage-managing the cult of artists in order to enhance the market value of museum holdings, entrepreneurs have found validation and profit in big-name art. Speculators, thieves, and promoters long ago created and fed a market where cultural icons could be traded like commodities.
This trend toward commodification of high-brow art took an ominous, if predictable, turn in the 1980's during the Japanese “bubble economy.” At a time when Japanese share prices more than doubled, individual tycoons and industrial giants alike invested record amounts in some of the West’s greatest masterpieces. Ryoei Saito, for example, purchased van Gogh’s Portrait of Dr. Gachet for a record-breaking $82.5 million. The work, then on loan to the Metropolitan Museum of Modern Art, suddenly vanished from the public domain. Later learning that he owed the Japanese government $24 million in taxes, Saito remarked that he would have the paining cremated with him to spare his heirs the inheritance tax. This statement, which he later dismissed as a joke, alarmed and enraged many. A representative of the Van Gogh museum, conceding that he had no legal redress, made an ethical appeal to Mr. Saito, asserting, “a work of art remains the possession of the world at large.”
Ethical appeals notwithstanding, great art will increasingly devolve into big business. Firstly, great art can only be certified by its market value. Moreover, the “world at large” hasn’t the means of acquisition. Only one museum currently has the funding to contend for the best pieces–the J. Paul Getty Museum, founded by the billionaire oilman. The art may disappear into private hands, but its transfer will disseminate once static fortunes into the hands of various investors, collectors, and occasionally the artist.
Yet, Sherman’s bedfellows are far from strange. Art, despite its religious and magical origins, very soon became a commercial venture. From bourgeois patrons funding art they barely understood in order to share their protegee’s prestige, to museum curators stage-managing the cult of artists in order to enhance the market value of museum holdings, entrepreneurs have found validation and profit in big-name art. Speculators, thieves, and promoters long ago created and fed a market where cultural icons could be traded like commodities.
This trend toward commodification of high-brow art took an ominous, if predictable, turn in the 1980's during the Japanese “bubble economy.” At a time when Japanese share prices more than doubled, individual tycoons and industrial giants alike invested record amounts in some of the West’s greatest masterpieces. Ryoei Saito, for example, purchased van Gogh’s Portrait of Dr. Gachet for a record-breaking $82.5 million. The work, then on loan to the Metropolitan Museum of Modern Art, suddenly vanished from the public domain. Later learning that he owed the Japanese government $24 million in taxes, Saito remarked that he would have the paining cremated with him to spare his heirs the inheritance tax. This statement, which he later dismissed as a joke, alarmed and enraged many. A representative of the Van Gogh museum, conceding that he had no legal redress, made an ethical appeal to Mr. Saito, asserting, “a work of art remains the possession of the world at large.”
Ethical appeals notwithstanding, great art will increasingly devolve into big business. Firstly, great art can only be certified by its market value. Moreover, the “world at large” hasn’t the means of acquisition. Only one museum currently has the funding to contend for the best pieces–the J. Paul Getty Museum, founded by the billionaire oilman. The art may disappear into private hands, but its transfer will disseminate once static fortunes into the hands of various investors, collectors, and occasionally the artist.
1. Which of the following would be the most appropriate title for the passage?
A. Art of Art’s Sake: A Japanese Ideal
B. Van Gogh: Breaking New Ground
C. Museums and the Press: Strange Bedfellows
D. Money vs. Art: An Ethical Mismatch
E. Great Art: Business as Usual
2. It can be inferred from the passage that Harriet Sherman would be most likely to agree with which of the following statements regarding admission to museum exhibits?
A. Tickets should be available on a first-come-first-served basis.
B. Those with a genuine interest in art should not have to pay inflated prices.
C. Museums need the income from ticket sales in order to buy great art.
D. Tickets should be distributed without prior announcement.
E. No one should be able to purchase more than one or two tickets.
3. The passage supplies information for answering which of the following questions?
A. Who owned van Gogh’s Portrait of Dr. Gachet prior to its purchase by Saito?
B. Where did Saito exhibit van Gogh’s Portrait of Dr. Gachet?
C. Which museum proposed to purchase van Gogh’s Portrait of Dr. Gachet from Saito?
D. Did the Van Gogh Museum threaten legal action in response to reports that Saito intended to destroy van Gogh’s Portrait of Dr. Gachet?
E. Did Saito actually intend to destroy van Gogh’s Portrait of Dr. Gachet?
4. The author of the passage mentions which of the following connections between art and business?
I. Entrepreneurs sometimes try to enhance their reputations by supporting artists.
II. Artworks are often bought and sold as investments.
III. Great artworks can best be recognized by their high market value.
A. I
B. II
C. I and II only
D. III
E. I,II, and III
A. Art of Art’s Sake: A Japanese Ideal
B. Van Gogh: Breaking New Ground
C. Museums and the Press: Strange Bedfellows
D. Money vs. Art: An Ethical Mismatch
E. Great Art: Business as Usual
2. It can be inferred from the passage that Harriet Sherman would be most likely to agree with which of the following statements regarding admission to museum exhibits?
A. Tickets should be available on a first-come-first-served basis.
B. Those with a genuine interest in art should not have to pay inflated prices.
C. Museums need the income from ticket sales in order to buy great art.
D. Tickets should be distributed without prior announcement.
E. No one should be able to purchase more than one or two tickets.
3. The passage supplies information for answering which of the following questions?
A. Who owned van Gogh’s Portrait of Dr. Gachet prior to its purchase by Saito?
B. Where did Saito exhibit van Gogh’s Portrait of Dr. Gachet?
C. Which museum proposed to purchase van Gogh’s Portrait of Dr. Gachet from Saito?
D. Did the Van Gogh Museum threaten legal action in response to reports that Saito intended to destroy van Gogh’s Portrait of Dr. Gachet?
E. Did Saito actually intend to destroy van Gogh’s Portrait of Dr. Gachet?
4. The author of the passage mentions which of the following connections between art and business?
I. Entrepreneurs sometimes try to enhance their reputations by supporting artists.
II. Artworks are often bought and sold as investments.
III. Great artworks can best be recognized by their high market value.
A. I
B. II
C. I and II only
D. III
E. I,II, and III
Excellent question!
10 minutes, all correct!
1. Which of the following would be the most appropriate title for the passage?
A. Art of Art’s Sake: A Japanese Ideal-Japanese ideal is just a part of passage. Partial Scope
B. Van Gogh: Breaking New Ground-Van gogh was one of the example not the crux of passage in entirety. Partial Scope.
C. Museums and the Press: Strange Bedfellows-OFS
D. Money vs. Art: An Ethical Mismatch-Hmm, kinda ok but the author clearly mentioned its not an ethical mismatch. Refer "Ethical appeals notwithstanding, great art will increasingly devolve into big business"
E. Great Art: Business as Usual- Best of the lot. Refer portions in which author mentions that people invested in it, demand supply fundamental etc.
2. It can be inferred from the passage that Harriet Sherman would be most likely to agree with which of the following statements regarding admission to museum exhibits?
A. Tickets should be available on a first-come-first-served basis.-No, that was how the tickets were actually distributed!
B. Those with a genuine interest in art should not have to pay inflated prices.-Yes, he believed that homeless people because of their ease to the tickets bought them free of cost in the "dead winter" but the "less hardy connoisseurs" (actual fans of the art) shouldnt have to pay hefty fees to attend the exhibition.
C. Museums need the income from ticket sales in order to buy great art.-OFS
D. Tickets should be distributed without prior announcement.-OFS
E. No one should be able to purchase more than one or two tickets.-Cant be inferred. Might be true.
3. The passage supplies information for answering which of the following questions?
A. Who owned van Gogh’s Portrait of Dr. Gachet prior to its purchase by Saito?Nopes cant be answered.
B. Where did Saito exhibit van Gogh’s Portrait of Dr. Gachet?Nopes cant be answered.
C. Which museum proposed to purchase van Gogh’s Portrait of Dr. Gachet from Saito?Nopes cant be answered.
D. Did the Van Gogh Museum threaten legal action in response to reports that Saito intended to destroy van Gogh’s Portrait of Dr. Gachet? Can be inferred. Refer " A representative of the Van Gogh museum, conceding that he had no legal redress.."
E. Did Saito actually intend to destroy van Gogh’s Portrait of Dr. Gachet?Nopes, no where mentioned.
4. The author of the passage mentions which of the following connections between art and business?
I. Entrepreneurs sometimes try to enhance their reputations by supporting artists.-Mentioned refer "From bourgeois patrons funding art they barely understood in order to share their protegee’s prestige"
II. Artworks are often bought and sold as investments. Mentioned, refer "individual tycoons and industrial giants alike invested record amounts in some of the West’s greatest masterpieces."
III. Great artworks can best be recognized by their high market value.Mentioned, refer "Firstly, great art can only be certified by its market value. Moreover, the “world at large” hasn’t the means of acquisition."
A. I
B. II
C. I and II only
D. III
E. I,II, and III-Correct answer!
[/box_in][/box_out][/quote]
General Discussion
17 Oct 2018, 07:54
Kudos
Bookmarks
8 mins all correct
para 1 : a incidence where art not valued
para 2 : art a commercial entity
para3 :commercialization and one evil effect through example
para 4: ethical values doesnt matter , commercial is only good
main idea :art is business
Q1:E
apply POE
A. Art of Art’s Sake: A Japanese Ideal : only one para discussion eliminate
B. Van Gogh: Breaking New Ground: same as A
C. Museums and the Press: Strange Bedfellows: only first para discussion
D. Money vs. Art: An Ethical Mismatch: too bold: no comparison of direct war
E. Great Art: Business as Usual: in line with pre-thinking
Q2: B
the first para states reason for lamenting was less interested people attended the exhibit on low prices so it can be inferred author wanted highly interested people to visit on free coupons
Q3:D
apply POE by referring to para 3
A. Who owned van Gogh’s Portrait of Dr. Gachet prior to its purchase by Saito?: no mention
B. Where did Saito exhibit van Gogh’s Portrait of Dr. Gachet?: no mention
C. Which museum proposed to purchase van Gogh’s Portrait of Dr. Gachet from Saito?: no mention of specific museum
D. Did the Van Gogh Museum threaten legal action in response to reports that Saito intended to destroy van Gogh’s Portrait of Dr. Gachet?: the representative of van gough says something this could be true
E. Did Saito actually intend to destroy van Gogh’s Portrait of Dr. Gachet?: we dont know the intentions just what he said
so D wins
Q4:E
a multi choice question look for the option that repeats the most : option II
II. Artworks are often bought and sold as investments.: refer to para 2 : it says tycoon invested so correct
eliminate
A and D
next pick option III :Great artworks can best be recognized by their high market value.: author says market value is best appraisal in para 4
so correct
eliminate B,C,
only E left
para 1 : a incidence where art not valued
para 2 : art a commercial entity
para3 :commercialization and one evil effect through example
para 4: ethical values doesnt matter , commercial is only good
main idea :art is business
Q1:E
apply POE
A. Art of Art’s Sake: A Japanese Ideal : only one para discussion eliminate
B. Van Gogh: Breaking New Ground: same as A
C. Museums and the Press: Strange Bedfellows: only first para discussion
D. Money vs. Art: An Ethical Mismatch: too bold: no comparison of direct war
E. Great Art: Business as Usual: in line with pre-thinking
Q2: B
the first para states reason for lamenting was less interested people attended the exhibit on low prices so it can be inferred author wanted highly interested people to visit on free coupons
Q3:D
apply POE by referring to para 3
A. Who owned van Gogh’s Portrait of Dr. Gachet prior to its purchase by Saito?: no mention
B. Where did Saito exhibit van Gogh’s Portrait of Dr. Gachet?: no mention
C. Which museum proposed to purchase van Gogh’s Portrait of Dr. Gachet from Saito?: no mention of specific museum
D. Did the Van Gogh Museum threaten legal action in response to reports that Saito intended to destroy van Gogh’s Portrait of Dr. Gachet?: the representative of van gough says something this could be true
E. Did Saito actually intend to destroy van Gogh’s Portrait of Dr. Gachet?: we dont know the intentions just what he said
so D wins
Q4:E
a multi choice question look for the option that repeats the most : option II
II. Artworks are often bought and sold as investments.: refer to para 2 : it says tycoon invested so correct
eliminate
A and D
next pick option III :Great artworks can best be recognized by their high market value.: author says market value is best appraisal in para 4
so correct
eliminate B,C,
only E left
