CAT Exam  >  CAT Questions  >   DIRECTIONS for questions: The passage given ... Start Learning for Free
DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.
Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.
But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.
Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.
Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.
Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.
But engage we must. Engage we will.
Q. The author uses the metaphorical expression ‘words were crushed by images’ to describe how
  • a)
    art criticism doesn’t matter when there is an enormous volume of art being produced.
  • b)
    art criticism couldn’t hold its ground against shallow modern art criticism.
  • c)
    the popularity of certain artists superseded the popularity of art criticism.
  • d)
    art critics had to stop criticising art and instead had to start promoting it.
Correct answer is option 'C'. Can you explain this answer?
Verified Answer
DIRECTIONS for questions: The passage given below is accompanied by a...
While [high moral disdain for shallow modern art was pouring from the printing presses] (positive for art critics), [a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again (negative for art critics]. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.
The image reference has to be about the art of people like Damien Hirst which got away with shallow modern art.
Option A: The need for critics arising because of a staggering amount of art being produced, has been mentioned in a latter para, and not in this context. Also, the comparison is between art and words and there is nothing about quantity. Hence, Option A is not the answer.
Option B: Words (art criticism) were crushed by images (art, probably shallow modern art). That is the real conflict. The idiom 'couldn't hold its ground' means couldn't resist anymore/ crushed/ defeated. However, the conflict depicted here is art criticism versus shallow modem art criticism. Hence, Option B is not the answer.
Option C: The popularity of [certain artists] (images, specifically created by Hirst and a generation of British artists) superseded (defeated) the popularity of [art criticism] (words). They were able to get away with whatever they wanted despite art critics calling their art shallow. Hence, this option represents the conflict. Option C is the answer.
Option D: This was a consequence of words being crushed by images. After words were crushed by images, art critics were reduced to promoters of art. They couldn't criticise anymore, because the patrons of art criticism disappeared. Hence, Option D was not the purpose of the author to use the metaphor.
View all questions of this test
Most Upvoted Answer
DIRECTIONS for questions: The passage given below is accompanied by a...
Explanation:

Metaphorical Expression Analysis:
- The metaphorical expression 'words were crushed by images' is used to describe how the popularity and influence of certain artists like Damien Hirst overshadowed the role of art critics.
- It signifies that the impact of visual art and artists became more significant than the words and criticisms offered by art critics.
- This metaphor emphasizes the idea that the visual representation of art became more powerful and dominant than verbal critiques.

Impact on Art Criticism:
- The metaphor reflects a shift in the art world where the visual appeal and shock value of contemporary artists like Damien Hirst gained more attention and recognition than the critical opinions expressed by art critics.
- Critics found themselves in a position where their words and evaluations were overshadowed by the popularity and controversy surrounding certain artists.
- This shift contributed to a decline in the influence and authority of art critics, as their traditional role of critiquing and shaping artistic discourse was challenged by the rise of visually striking and headline-grabbing artworks.

Conclusion:
- The metaphorical expression 'words were crushed by images' encapsulates the diminishing significance of art criticism in the face of the sensationalism and visual impact created by certain artists, leading to a reevaluation of the role and relevance of critics in the contemporary art world.
Attention CAT Students!
To make sure you are not studying endlessly, EduRev has designed CAT study material, with Structured Courses, Videos, & Test Series. Plus get personalized analysis, doubt solving and improvement plans to achieve a great score in CAT.
Explore Courses for CAT exam

Similar CAT Doubts

DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. Why does the author think there is an opportunity and need for critics again?

DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The joke history played on critics like Fuller and Hughes is that

DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The author justifies art criticism in the first para of the passage by saying that art criticism

DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The role of the art critic, according to the author, does not include

DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. Which of the following has been dubbed as a weak defence of art criticism by the author in the first sentence of the second para?

Top Courses for CAT

DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The author uses the metaphorical expression ‘words were crushed by images’ to describe howa)art criticism doesn’t matter when there is an enormous volume of art being produced.b)art criticism couldn’t hold its ground against shallow modern art criticism.c)the popularity of certain artists superseded the popularity of art criticism.d)art critics had to stop criticising art and instead had to start promoting it.Correct answer is option 'C'. Can you explain this answer?
Question Description
DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The author uses the metaphorical expression ‘words were crushed by images’ to describe howa)art criticism doesn’t matter when there is an enormous volume of art being produced.b)art criticism couldn’t hold its ground against shallow modern art criticism.c)the popularity of certain artists superseded the popularity of art criticism.d)art critics had to stop criticising art and instead had to start promoting it.Correct answer is option 'C'. Can you explain this answer? for CAT 2024 is part of CAT preparation. The Question and answers have been prepared according to the CAT exam syllabus. Information about DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The author uses the metaphorical expression ‘words were crushed by images’ to describe howa)art criticism doesn’t matter when there is an enormous volume of art being produced.b)art criticism couldn’t hold its ground against shallow modern art criticism.c)the popularity of certain artists superseded the popularity of art criticism.d)art critics had to stop criticising art and instead had to start promoting it.Correct answer is option 'C'. Can you explain this answer? covers all topics & solutions for CAT 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The author uses the metaphorical expression ‘words were crushed by images’ to describe howa)art criticism doesn’t matter when there is an enormous volume of art being produced.b)art criticism couldn’t hold its ground against shallow modern art criticism.c)the popularity of certain artists superseded the popularity of art criticism.d)art critics had to stop criticising art and instead had to start promoting it.Correct answer is option 'C'. Can you explain this answer?.
Solutions for DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The author uses the metaphorical expression ‘words were crushed by images’ to describe howa)art criticism doesn’t matter when there is an enormous volume of art being produced.b)art criticism couldn’t hold its ground against shallow modern art criticism.c)the popularity of certain artists superseded the popularity of art criticism.d)art critics had to stop criticising art and instead had to start promoting it.Correct answer is option 'C'. Can you explain this answer? in English & in Hindi are available as part of our courses for CAT. Download more important topics, notes, lectures and mock test series for CAT Exam by signing up for free.
Here you can find the meaning of DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The author uses the metaphorical expression ‘words were crushed by images’ to describe howa)art criticism doesn’t matter when there is an enormous volume of art being produced.b)art criticism couldn’t hold its ground against shallow modern art criticism.c)the popularity of certain artists superseded the popularity of art criticism.d)art critics had to stop criticising art and instead had to start promoting it.Correct answer is option 'C'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The author uses the metaphorical expression ‘words were crushed by images’ to describe howa)art criticism doesn’t matter when there is an enormous volume of art being produced.b)art criticism couldn’t hold its ground against shallow modern art criticism.c)the popularity of certain artists superseded the popularity of art criticism.d)art critics had to stop criticising art and instead had to start promoting it.Correct answer is option 'C'. Can you explain this answer?, a detailed solution for DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The author uses the metaphorical expression ‘words were crushed by images’ to describe howa)art criticism doesn’t matter when there is an enormous volume of art being produced.b)art criticism couldn’t hold its ground against shallow modern art criticism.c)the popularity of certain artists superseded the popularity of art criticism.d)art critics had to stop criticising art and instead had to start promoting it.Correct answer is option 'C'. Can you explain this answer? has been provided alongside types of DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The author uses the metaphorical expression ‘words were crushed by images’ to describe howa)art criticism doesn’t matter when there is an enormous volume of art being produced.b)art criticism couldn’t hold its ground against shallow modern art criticism.c)the popularity of certain artists superseded the popularity of art criticism.d)art critics had to stop criticising art and instead had to start promoting it.Correct answer is option 'C'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice DIRECTIONS for questions: The passage given below is accompanied by a set of six questions. Choose the best answer to each question.Do art critics have a point anymore? Can they contribute anything to the development of art? For a long time, I've ducked this question. If you'd asked me any time over the past few years, I'd have replied that criticism does not seriously influence art. It has its own justification, however, as literature. If literature seems a pompous word, let's say entertainment. The appetite to read about art is almost as insatiable as the need to look at it; the critic provides a service that gives a chance to talk, think and tell stories about art and artists. Maybe it doesn't have any impact on art but it does occupy a place in the culture. That's what I would have said, until recently.But that's a weak defence of criticism. The truth is that critics have been in retreat for a long time. In British art, they faced a cataclysmic loss of standing just before I came on the scene. When I was a student, the art critic whose books I bought was Peter Fuller, founder of the magazine Modern Painters and a savage critic of most trends in contemporary art. I enjoyed the provocative seriousness of his essays. I also loved the writing of Robert Hughes, another critic whose eloquence was - and is - very much at the expense of current art.Not much newspaper criticism comes near their mark, but what critics did share, in the late 1980s, was a similar scepticism about new fashions, a "seriousness" defined by suspicion. And of course, history played a joke on these critics - even on Fuller and Hughes. While high moral disdain for shallow modern art was pouring from the printing presses, a generation of British artists led by Damien Hirst were getting away with anything they wanted - again and again and again. Words were crushed by images. Critics were reduced to the status of promoters. They had no other role.Today I think there is an opportunity for critics again - and a need. The sheer volume and range of art that we're fed in a culture obsessed with galleries is so vast and confusing that a critic can get stuck in and make a difference. It really is time to stand up for what is good against what is meretricious. And it really is possible to find examples of excellence as well as stupidity. In other words, this is a great time to be a critic - to try to show people what really matters.Yes, there's a staggering volume of mediocre art being talked up by fools. But there are real talents and real ideas too. The critic's task is to identify what is good and defend it come hell or high water - and to honestly denounce the bad. Art history can help in this task by enriching your perspective. Writing can give you flexibility in how and when you want to engage.But engage we must. Engage we will.Q. The author uses the metaphorical expression ‘words were crushed by images’ to describe howa)art criticism doesn’t matter when there is an enormous volume of art being produced.b)art criticism couldn’t hold its ground against shallow modern art criticism.c)the popularity of certain artists superseded the popularity of art criticism.d)art critics had to stop criticising art and instead had to start promoting it.Correct answer is option 'C'. Can you explain this answer? tests, examples and also practice CAT tests.
Explore Courses for CAT exam

Top Courses for CAT

Explore Courses
Signup for Free!
Signup to see your scores go up within 7 days! Learn & Practice with 1000+ FREE Notes, Videos & Tests.
10M+ students study on EduRev