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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
  • a)
    is too pompous to be called literature.
  • b)
    doesn’t have a serious influence on art.
  • c)
    serves as entertainment for insatiable readers.
  • d)
    acts as a vent for discussions on art.
Correct answer is option 'D'. Can you explain this answer?
Verified Answer
DIRECTIONS for questions: The passage given below is accompanied by a...
The answer can be understood from the following sentences: ‘It has its own justification, however, as literature. If literature seems a pompous word, let's save 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.’
Option A: The author doesn’t say that art criticism is pompous. The author says, if the word literature’ feels too pompous (or over the board) for art criticism, if we cannot call art criticism as literature, then we could call it ‘entertainment.’ Hence, Option A is not the answer.
Option B: While the statement may be true, it is negative in tone. The author was justifying art criticism by mentioning that even if it doesn’t have a serious influence on art, it has a purpose. Hence, Option B can be eliminated.
Option C: The appetite to read about art is insatiable according to the passage. The author isn’t speaking about insatiable readers (those who love reading a lot, not necessarily only about art). This is misrepresentation of information. Hence, Option C is not the answer.
Option D: From the sentence, ‘the critic provides...gives a chance to talk...about art’, we can understand that art criticism provides a channel (vent/ outlet/ medium) for art discussions. Hence, Option D is the answer.
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Most Upvoted Answer
DIRECTIONS for questions: The passage given below is accompanied by a...

Explanation:

Justification of art criticism:
- The author justifies art criticism by stating that it serves as entertainment for insatiable readers.
- The appetite to read about art is almost as insatiable as the need to look at it.
- Critics provide a service that gives a chance to talk, think, and tell stories about art and artists.

Weak defense of criticism:
- The author admits that their previous stance on criticism being justified as literature or entertainment was a weak defense.
- Critics have been in retreat for a long time, facing a loss of standing in the art world.

Opportunity for critics:
- The author believes that there is an opportunity for critics again, given the vast and confusing volume of art in today's culture.
- Critics can make a difference by identifying what is good and defending it, as well as denouncing the bad.
- It is a great time to be a critic and show people what really matters in art.

In conclusion, the author justifies art criticism not only as a form of entertainment for readers but also as a necessary role in identifying and defending excellence in art while denouncing mediocrity.
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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?

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 author uses the metaphorical expression ‘words were crushed by images’ to describe how

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. The joke history played on critics like Fuller and Hughes is that

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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 criticisma)is too pompous to be called literature.b)doesn’t have a serious influence on art.c)serves as entertainment for insatiable readers.d)acts as a vent for discussions on art.Correct answer is option 'D'. Can you explain this answer?
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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 criticisma)is too pompous to be called literature.b)doesn’t have a serious influence on art.c)serves as entertainment for insatiable readers.d)acts as a vent for discussions on art.Correct answer is option 'D'. 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 justifies art criticism in the first para of the passage by saying that art criticisma)is too pompous to be called literature.b)doesn’t have a serious influence on art.c)serves as entertainment for insatiable readers.d)acts as a vent for discussions on art.Correct answer is option 'D'. 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 justifies art criticism in the first para of the passage by saying that art criticisma)is too pompous to be called literature.b)doesn’t have a serious influence on art.c)serves as entertainment for insatiable readers.d)acts as a vent for discussions on art.Correct answer is option 'D'. 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 justifies art criticism in the first para of the passage by saying that art criticisma)is too pompous to be called literature.b)doesn’t have a serious influence on art.c)serves as entertainment for insatiable readers.d)acts as a vent for discussions on art.Correct answer is option 'D'. 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 justifies art criticism in the first para of the passage by saying that art criticisma)is too pompous to be called literature.b)doesn’t have a serious influence on art.c)serves as entertainment for insatiable readers.d)acts as a vent for discussions on art.Correct answer is option 'D'. 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 justifies art criticism in the first para of the passage by saying that art criticisma)is too pompous to be called literature.b)doesn’t have a serious influence on art.c)serves as entertainment for insatiable readers.d)acts as a vent for discussions on art.Correct answer is option 'D'. 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 justifies art criticism in the first para of the passage by saying that art criticisma)is too pompous to be called literature.b)doesn’t have a serious influence on art.c)serves as entertainment for insatiable readers.d)acts as a vent for discussions on art.Correct answer is option 'D'. 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 justifies art criticism in the first para of the passage by saying that art criticisma)is too pompous to be called literature.b)doesn’t have a serious influence on art.c)serves as entertainment for insatiable readers.d)acts as a vent for discussions on art.Correct answer is option 'D'. 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 justifies art criticism in the first para of the passage by saying that art criticisma)is too pompous to be called literature.b)doesn’t have a serious influence on art.c)serves as entertainment for insatiable readers.d)acts as a vent for discussions on art.Correct answer is option 'D'. Can you explain this answer? tests, examples and also practice CAT tests.
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