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Re: The conflict between [#permalink]
then what would be the answer .. I was thinking D ?
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Re: The conflict between [#permalink]
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tgt2012 wrote:
then what would be the answer .. I was thinking D ?


Answer is A

(A) bring artists and gallery managers into closer contact, so as to increase the artist’s input into the way the exhibit is held.

SEE as i have stated in above post:
problem of the argument:
managers dont know how to present the art..as it is inteded by artists.
so now if both mangers and artist are in regular touch then this problem can be solved.
that is what option A IS saying.

D cant be the answer:
provide a uniform environment for all the works in an exhibition so that they appear within the same context===>if you provide the same environment for all the environment then in that case is it solving the conflict of MANAGER and AUTHOR==>NO

example : you put all the painting in a beautiful well designed room==>you are providing same environment for all.
but does this mean that the managers will present the art as per the artists intention.===> we cant say
hence option D is wrong

KUDOS if it helped.
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Re: The conflict between [#permalink]
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Vineetk wrote:
I thought A is wrong as it will be difficult for Manager to incorporate the inputs by artists as artists can have different views on the way exhibition is held and Manager cannot make everyone Happy. That's why I went with B. Did I thought too much on this? B does the Job well. It gives Manager sufficient information to execute the exhibition.


Yes you thought too much. The text does not say anything like that so you cannot assume it. Stick to what it's given.

B does not the job well. We know that "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."

Even if you "B provide brochures at the exhibit that describe the artist and how he or she intended the exhibit to look" but you do not change anything about the context, the problem remains.
The brochure could say something like "the artist designed this painting with light in his mind", but if you place the canvas in a dark room the problem remains.

Hope it' s clear
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Re: The conflict between an artist s work and the context in [#permalink]
Experts, please advise what is wrong with option E.

The way I understood the questions ---

Managers don't know the context of the picture -----> Picture's Placement is wrong.

E says --> If managers are made well versed to understand the context of the Picture, they themselves can correct the placement. (In other words, to counter option A -- We don't even need painters help if managers are well aware about the context of the picture.)
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Re: The conflict between an artist s work and the context in [#permalink]
Experts, please advise what is wrong with option E.

The way I understood the questions ---

Managers don't know the context of the picture -----> Picture's Placement is wrong.

E says --> If managers are made well versed to understand the context of the Picture, they themselves can correct the placement. (In other words, to counter option A -- We don't even need painters help if managers are well aware about the context of the picture.)
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Re: The conflict between an artist s work and the context in [#permalink]
sayantanc2k wrote:
RMD007 wrote:
Experts, please advise what is wrong with option E.

The way I understood the questions ---

Managers don't know the context of the picture -----> Picture's Placement is wrong.

E says --> If managers are made well versed to understand the context of the Picture, they themselves can correct the placement. (In other words, to counter option A -- We don't even need painters help if managers are well aware about the context of the picture.)


The problem arises because the managers do not understand how the painter envisioned the work's environment, not because they do not understand the meaning of the painting. Therefore getting the managers trained to understand the meaning of the painting would not help. They need to understand what the painter thought about the environment of the painting. Hence A is better than E.


Its clear. Thanks for the reply.
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Re: The conflict between an artist s work and the context in [#permalink]
What about the the artists who are dead, how is option A gonna help in that case while E might help still. How do we understand that from the context?
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Re: The conflict between an artist s work and the context in [#permalink]
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.
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The conflict between an artist s work and the context in [#permalink]
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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.


Argp
I 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.
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The conflict between an artist s work and the context in [#permalink]
Thank you so much eakabuah! Not only for such a quick revert but also for such an elaborate one. Really appreciate it!

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Re: The conflict between an artist s work and the context in [#permalink]
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Re: The conflict between an artist s work and the context in [#permalink]
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