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The distinction that modern artists and art critics make between the a

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New post 15 Jul 2020, 02:13
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The distinction that modern artists and art critics make between the arts, on the one hand, and crafts, on the other, was foreign to classical antiquity. Both arts and crafts were regarded by the ancient Greeks as “productions according to rule” and both were classified as techne, which can be translated “organized knowledge and procedure applied for the purpose of producing a specific preconceived result.” This concept runs directly counter to the deeply ingrained insight of modern aesthetic thought that art cannot be reduced to rule and cannot be evaluated using a set of rules reducible to a formula. The Greek concept predominated until the middle of the eighteenth century, when the French aesthetician Charles Batteux heralded the idea that what distinguishes the arts from the crafts and the sciences is the arts’ production of beauty. This idea lasted until the beginning of the twentieth century when some critics argued that “beauty” was a highly ambiguous term, far too broad and indefinite for the purpose of defining or evaluating art. Since 1900, a large number of definitions of art have emerged, each covering a sector of accepted creative and critical practice but none, apparently, applicable to the whole of what is accepted as art by the art world.

Not only do contemporary definitions of art fail to agree on any common approach to art or on common areas of concern, but individually many of them do not even serve to differentiate those works that are conventionally accepted as art by many artists and critics from those that are not. For example, the “mimetic” theory holds that art reproduces reality; but although amateurs’ photographs reproduce reality, most artists and art critics do not consider them art. The inadequacy of these definitions suggests a strong element of irrationality, because it suggests that the way in which artists and art critics talk and think about works of art does not correspond with the way in which they actually distinguish those things that they recognize as works of art from the things that they do not so recognize.

1) In his treatment of contemporary definitions of art, the author expresses

A) praise for their virtues
B) concern about their defects
C) approval of their strengths
D) indifference to people who take them seriously
E) ridicule for people who ignore them

2) The passage is most relevant to which of the following areas of study?

A) The history of aesthetics
B) The history of literature
C) The sociology of art
D) The psychology of art
E) The sociology of aesthetics

3) The passage suggests that, compared to the conceptions of art of earlier eras, twentieth century conceptions are more

A) ambiguous and amateurish
B) skeptical and irrational
C) diverse and fragmented
D) conventional and didactic
E) realistic and relevant

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New post 16 Jul 2020, 04:55
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sk7075 wrote:
Help me with Q.3
Thanks in advance


Hi sk7075,


3) The passage suggests that, compared to the conceptions of art of earlier eras, twentieth century conceptions are more

A) ambiguous and amateurish
B) skeptical and irrational
C) diverse and fragmented
D) conventional and didactic
E) realistic and relevant


Correct Answer: C,
Explanation: can be inferred from the lines: "Since 1900, a large number of definitions of art have emerged, each covering a sector of accepted creative and critical practice but none, apparently, applicable to the whole of what is accepted as art by the art world.
Not only do contemporary definitions of art fail to agree on any common approach to art or on common areas of concern, but individually many of them do not even serve to differentiate those works that are conventionally accepted as art by many artists and critics from those that are not."., implying that there is a failure in regards to a common approach to art, making C a better choice.
Option A cannot be inferred from the passage. Though the word ‘irrational’ is applied to the inconsistency of modern artists’ and art critic’s definitions of art, we cannot say that they are skeptical about their conception of art. Therefore B is incorrect. We can also rule out D, since from the 1st two lines mentioned above we can say that art is not conventional, since there are so many concepts associated with it. E can be directly ruled out, since it cannot be inferred from the passage, and author finds opposite of what's mentioned as true.


Hope this Helps.
Thanks.
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New post 15 Jul 2020, 22:19
Help me with Q.3
Thanks in advance
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New post 16 Jul 2020, 01:15
SajjadAhmad Is the OA for Question 2 incorrect? Could you also please help with the official explanations for all three questions?
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New post 16 Jul 2020, 05:17
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harshbirajdar wrote:
SajjadAhmad Is the OA for Question 2 incorrect? Could you also please help with the official explanations for all three questions?



Hi harshbirajdar,

The OA's of all the questions are correct. These are not the official explanations, but let me know if they help.


1) In his treatment of contemporary definitions of art, the author expresses

A) praise for their virtues
B) concern about their defects
C) approval of their strengths
D) indifference to people who take them seriously
E) ridicule for people who ignore them

Correct Answer: B,
Explanation: can be inferred from the lines: “Since 1900, a large number of definitions of art have emerged…none of them, apparently, are applicable to the whole of what is accepted as art by the art world…...Not only do contemporary definitions of art fail to agree on any common approach to art or on common areas of concern, but individually many of them do not even serve to differentiate those works that are conventionally adopted as art by many artists and critics from those that are not.”, implying that throughout the passage, author expresses concern about the defects of contemporary art definitions.


2) The passage is most relevant to which of the following areas of study?

A) The history of aesthetics
B) The history of literature
C) The sociology of art
D) The psychology of art
E) The sociology of aesthetics

Correct Answer: A
Explanation: as mentioned in the passage: "This concept runs directly counter to the deeply ingrained insight of modern aesthetic thought that art cannot be reduced to rule and cannot be evaluated using a set of rules reducible to a formula. The Greek concept predominated until the middle of the eighteenth century, when the French aesthetician Charles Batteux heralded the idea that what distinguishes the arts from the crafts and the sciences is the arts’ production of beauty.", implying that author traces the history of art as aesthetic back to the Greeks. Aesthetics, in general are principles pertaining to appreciation of beauty or art. Other options have not been discussed in the passage, making A the best choice.


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New post 16 Jul 2020, 05:46
Are you sure this a 700 level passage, solved within 4 mins all 3 correct. Great passage though, similar to to the real deal.
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New post 16 Jul 2020, 06:08
1
richirish wrote:
Are you sure this a 700 level passage, solved within 4 mins all 3 correct. Great passage though, similar to to the real deal.


Hello richirich

Great work if you got all correct in 4 minutes. Below is the difficulty level.

Question #1: 550
Question #2: 750
Question #3: 700

Good Luck
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New post 16 Jul 2020, 06:51
1
sk7075 wrote:
Help me with Q.3
Thanks in advance

"Since 1900, a large number of definitions of art have emerged, each covering a sector of accepted creative and critical practice but none, apparently, applicable to the whole of what is accepted as art by the art world"

It is an inference question, none applicable to the whole art world meaning it is "diverse", they have no concrete and uniform definition of what exactly is art, since 1900 means the twentieth century, lot of clues if you read carefully.

Hope it helps.
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New post 21 Jul 2020, 21:19
Choice B, in Question 3 is a finely laid out trap and I see a lot of people fell for it, including me.
Based on my understanding of the passage, I had C as the answer but then I made the mistake of scanning for "keywords" and fell for the trap.

Key Takeaway: Locator words/Keywords can be a great aid, but can also be used by GMAC to lay traps, so if you find a conflict between your judgement/understanding of the passage and your technical tools, think twice before choosing the latter.
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Re: The distinction that modern artists and art critics make between the a  [#permalink]

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New post 02 Aug 2020, 22:46
Quote:
2) The passage is most relevant to which of the following areas of study?

A) The history of aesthetics
B) The history of literature
C) The sociology of art
D) The psychology of art
E) The sociology of aesthetics

VeritasKarishma GMATNinja
This passage is mostly revolving around art.

Since 1900, a large number of definitions of art .........
Not only do contemporary definitions of art fail to agree on .......
because it suggests that the way in which artists and art critics talk and think about works of art does.......

Quoting a statment about aesthetics doesn't make passage relevant to the "history of aesthetics".
Please explain this question.
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Re: The distinction that modern artists and art critics make between the a  [#permalink]

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New post 02 Aug 2020, 23:26
bm2201 wrote:
harshbirajdar wrote:
SajjadAhmad Is the OA for Question 2 incorrect? Could you also please help with the official explanations for all three questions?



Hi harshbirajdar,

2) The passage is most relevant to which of the following areas of study?

A) The history of aesthetics
B) The history of literature
C) The sociology of art
D) The psychology of art
E) The sociology of aesthetics

Correct Answer: A
Explanation: as mentioned in the passage: "This concept runs directly counter to the deeply ingrained insight of modern aesthetic thought that art cannot be reduced to rule and cannot be evaluated using a set of rules reducible to a formula. The Greek concept predominated until the middle of the eighteenth century, when the French aesthetician Charles Batteux heralded the idea that what distinguishes the arts from the crafts and the sciences is the arts’ production of beauty.", implying that author traces the history of art as aesthetic back to the Greeks. Aesthetics, in general are principles pertaining to appreciation of beauty or art. Other options have not been discussed in the passage, making A the best choice.


Thanks.


Hi bm2201,
I had query in Q2. Your explanation helped. Thanks :)
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Re: The distinction that modern artists and art critics make between the a  [#permalink]

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New post 05 Aug 2020, 22:30
Harsh2111s wrote:
Quote:
2) The passage is most relevant to which of the following areas of study?

A) The history of aesthetics
B) The history of literature
C) The sociology of art
D) The psychology of art
E) The sociology of aesthetics

VeritasKarishma GMATNinja
This passage is mostly revolving around art.

Since 1900, a large number of definitions of art .........
Not only do contemporary definitions of art fail to agree on .......
because it suggests that the way in which artists and art critics talk and think about works of art does.......

Quoting a statment about aesthetics doesn't make passage relevant to the "history of aesthetics".
Please explain this question.


First of all, let me say that it is a difficult question.

Aesthetics involves the measure of beauty in arts. This is the exact definition of aesthetics from dictionary.com

- the branch of philosophy dealing with such notions as the beautiful, the ugly, the sublime, the comic, etc., as applicable to the fine arts, with a view to establishing the meaning and validity of critical judgments concerning works of art, and the principles underlying or justifying such judgments.

Now notice ancient Greeks, middle of 18th century, 1900s, till 20th century, contemporary...

So a history of aesthetics course is quite likely to have this passage in it.

Sociology and psychology are related to society and human behaviour respectively. They don't seem very relevant.

Answer (A)
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Re: The distinction that modern artists and art critics make between the a   [#permalink] 05 Aug 2020, 22:30

The distinction that modern artists and art critics make between the a

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