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It is impossible to describe the arts in the United States without reference to our extraordinary ethnic and cultural diversity, but recognition of the full spectrum of different traditions has been slow in coming. The story of the realization of Americas extraordinary artistic diversity can be told in three chapters, culminating in the fairly recent proliferation of cultural centers of color, and demonstrates that art, like life, can flourish in many different settings.The settlement houses of the late 1800s, supported by private philanthropy and founded to provide artistic training, produce performances, and mount exhibitions, were designed to address the needs of poor European immigrants. As the communities in which settlement houses were located changed, so did their constituencies; and most of these organizations now serve communities of color. The oldest and best known, Hull House in Chicago, serves one of the countrys largest multiethnic communities with immigrants from Asia, Latin America, Africa, and other parts of the world.In the 1930s, a variety of visual, performing, and literary arts projects were initiated under the aegis of the Works Progress Administration and aimed not only at providing employment for artists but at generally encouraging a wide range of cultural expression. The achievements of these programs were substantial. The Negro Unit of the Federal Theater Project employed some 500 blacks in New York and produced dramas focusing on Nat Turner, Harriet Tubman, and Pierre Toussaint. The Federal Music Project featured all-black opera casts and preserved, recorded, and published Negro folk music, and thousands of African-Americans attended art classes funded by the Project in the South Side Community Art Center in Chicago and at the Harlem Art Center.The 1960s saw a grassroots movement among artists of color, when an unprecedented number of college-trained artists of color who possessed an understanding of the art forms of the larger society as well as those of their own communities, and who were tired of being rejected or stereotyped by established arts institutions, began to create informal groups and networks. They experimented with new artistic forms, often interdisciplinary, ethnocentric productions, in the process developing new audiences for the arts. The country was also in the throes of a cultural upheaval in which established models were challenged by young people from all racial, ethnic, and economic groups. Many of the cultural institutions established during this period, such as the Free Southern Theater of the Student nonviolent Coordinating Committee and El Teatro Campesino of the United Farmworkers, were integral parts of the civil rights struggle. The mood of activism, experimentation, and optimism was not limited to artists of color, but it was in this cultural ferment that the concept of nonprofit, community-based, ethnically specific organizations of color took root.Many of the "culturally elite" regarded these efforts with skepticism because these "radical artists" attacked the prevailing view that tended to rate cultures and their aesthetics strictly by European standards. But the result was not the devaluation of one experience at the expense of another. Rather, ethnically specific arts organizations, by preserving and sharing their own cultural heritages, promoted the unique cultural and artistic pluralism of the United States.Q. According to the passage, all of the following are true of the artists of color who worked during the 1960s EXCEPT:a)They developed new forms of artistic expression.b)They contributed to the civil rights movement.c)They worked with people fromother disciplines.d)They often focused on their own ethnic traditions.e)They benefited greatly from government grants.Correct answer is option 'E'. Can you explain this answer? for GMAT 2024 is part of GMAT preparation. The Question and answers have been prepared according to the GMAT exam syllabus. Information about It is impossible to describe the arts in the United States without reference to our extraordinary ethnic and cultural diversity, but recognition of the full spectrum of different traditions has been slow in coming. The story of the realization of Americas extraordinary artistic diversity can be told in three chapters, culminating in the fairly recent proliferation of cultural centers of color, and demonstrates that art, like life, can flourish in many different settings.The settlement houses of the late 1800s, supported by private philanthropy and founded to provide artistic training, produce performances, and mount exhibitions, were designed to address the needs of poor European immigrants. As the communities in which settlement houses were located changed, so did their constituencies; and most of these organizations now serve communities of color. The oldest and best known, Hull House in Chicago, serves one of the countrys largest multiethnic communities with immigrants from Asia, Latin America, Africa, and other parts of the world.In the 1930s, a variety of visual, performing, and literary arts projects were initiated under the aegis of the Works Progress Administration and aimed not only at providing employment for artists but at generally encouraging a wide range of cultural expression. The achievements of these programs were substantial. The Negro Unit of the Federal Theater Project employed some 500 blacks in New York and produced dramas focusing on Nat Turner, Harriet Tubman, and Pierre Toussaint. The Federal Music Project featured all-black opera casts and preserved, recorded, and published Negro folk music, and thousands of African-Americans attended art classes funded by the Project in the South Side Community Art Center in Chicago and at the Harlem Art Center.The 1960s saw a grassroots movement among artists of color, when an unprecedented number of college-trained artists of color who possessed an understanding of the art forms of the larger society as well as those of their own communities, and who were tired of being rejected or stereotyped by established arts institutions, began to create informal groups and networks. They experimented with new artistic forms, often interdisciplinary, ethnocentric productions, in the process developing new audiences for the arts. The country was also in the throes of a cultural upheaval in which established models were challenged by young people from all racial, ethnic, and economic groups. Many of the cultural institutions established during this period, such as the Free Southern Theater of the Student nonviolent Coordinating Committee and El Teatro Campesino of the United Farmworkers, were integral parts of the civil rights struggle. The mood of activism, experimentation, and optimism was not limited to artists of color, but it was in this cultural ferment that the concept of nonprofit, community-based, ethnically specific organizations of color took root.Many of the "culturally elite" regarded these efforts with skepticism because these "radical artists" attacked the prevailing view that tended to rate cultures and their aesthetics strictly by European standards. But the result was not the devaluation of one experience at the expense of another. Rather, ethnically specific arts organizations, by preserving and sharing their own cultural heritages, promoted the unique cultural and artistic pluralism of the United States.Q. According to the passage, all of the following are true of the artists of color who worked during the 1960s EXCEPT:a)They developed new forms of artistic expression.b)They contributed to the civil rights movement.c)They worked with people fromother disciplines.d)They often focused on their own ethnic traditions.e)They benefited greatly from government grants.Correct answer is option 'E'. Can you explain this answer? covers all topics & solutions for GMAT 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for It is impossible to describe the arts in the United States without reference to our extraordinary ethnic and cultural diversity, but recognition of the full spectrum of different traditions has been slow in coming. The story of the realization of Americas extraordinary artistic diversity can be told in three chapters, culminating in the fairly recent proliferation of cultural centers of color, and demonstrates that art, like life, can flourish in many different settings.The settlement houses of the late 1800s, supported by private philanthropy and founded to provide artistic training, produce performances, and mount exhibitions, were designed to address the needs of poor European immigrants. As the communities in which settlement houses were located changed, so did their constituencies; and most of these organizations now serve communities of color. The oldest and best known, Hull House in Chicago, serves one of the countrys largest multiethnic communities with immigrants from Asia, Latin America, Africa, and other parts of the world.In the 1930s, a variety of visual, performing, and literary arts projects were initiated under the aegis of the Works Progress Administration and aimed not only at providing employment for artists but at generally encouraging a wide range of cultural expression. The achievements of these programs were substantial. The Negro Unit of the Federal Theater Project employed some 500 blacks in New York and produced dramas focusing on Nat Turner, Harriet Tubman, and Pierre Toussaint. The Federal Music Project featured all-black opera casts and preserved, recorded, and published Negro folk music, and thousands of African-Americans attended art classes funded by the Project in the South Side Community Art Center in Chicago and at the Harlem Art Center.The 1960s saw a grassroots movement among artists of color, when an unprecedented number of college-trained artists of color who possessed an understanding of the art forms of the larger society as well as those of their own communities, and who were tired of being rejected or stereotyped by established arts institutions, began to create informal groups and networks. They experimented with new artistic forms, often interdisciplinary, ethnocentric productions, in the process developing new audiences for the arts. The country was also in the throes of a cultural upheaval in which established models were challenged by young people from all racial, ethnic, and economic groups. Many of the cultural institutions established during this period, such as the Free Southern Theater of the Student nonviolent Coordinating Committee and El Teatro Campesino of the United Farmworkers, were integral parts of the civil rights struggle. The mood of activism, experimentation, and optimism was not limited to artists of color, but it was in this cultural ferment that the concept of nonprofit, community-based, ethnically specific organizations of color took root.Many of the "culturally elite" regarded these efforts with skepticism because these "radical artists" attacked the prevailing view that tended to rate cultures and their aesthetics strictly by European standards. But the result was not the devaluation of one experience at the expense of another. Rather, ethnically specific arts organizations, by preserving and sharing their own cultural heritages, promoted the unique cultural and artistic pluralism of the United States.Q. According to the passage, all of the following are true of the artists of color who worked during the 1960s EXCEPT:a)They developed new forms of artistic expression.b)They contributed to the civil rights movement.c)They worked with people fromother disciplines.d)They often focused on their own ethnic traditions.e)They benefited greatly from government grants.Correct answer is option 'E'. Can you explain this answer?.

Solutions for It is impossible to describe the arts in the United States without reference to our extraordinary ethnic and cultural diversity, but recognition of the full spectrum of different traditions has been slow in coming. The story of the realization of Americas extraordinary artistic diversity can be told in three chapters, culminating in the fairly recent proliferation of cultural centers of color, and demonstrates that art, like life, can flourish in many different settings.The settlement houses of the late 1800s, supported by private philanthropy and founded to provide artistic training, produce performances, and mount exhibitions, were designed to address the needs of poor European immigrants. As the communities in which settlement houses were located changed, so did their constituencies; and most of these organizations now serve communities of color. The oldest and best known, Hull House in Chicago, serves one of the countrys largest multiethnic communities with immigrants from Asia, Latin America, Africa, and other parts of the world.In the 1930s, a variety of visual, performing, and literary arts projects were initiated under the aegis of the Works Progress Administration and aimed not only at providing employment for artists but at generally encouraging a wide range of cultural expression. The achievements of these programs were substantial. The Negro Unit of the Federal Theater Project employed some 500 blacks in New York and produced dramas focusing on Nat Turner, Harriet Tubman, and Pierre Toussaint. The Federal Music Project featured all-black opera casts and preserved, recorded, and published Negro folk music, and thousands of African-Americans attended art classes funded by the Project in the South Side Community Art Center in Chicago and at the Harlem Art Center.The 1960s saw a grassroots movement among artists of color, when an unprecedented number of college-trained artists of color who possessed an understanding of the art forms of the larger society as well as those of their own communities, and who were tired of being rejected or stereotyped by established arts institutions, began to create informal groups and networks. They experimented with new artistic forms, often interdisciplinary, ethnocentric productions, in the process developing new audiences for the arts. The country was also in the throes of a cultural upheaval in which established models were challenged by young people from all racial, ethnic, and economic groups. Many of the cultural institutions established during this period, such as the Free Southern Theater of the Student nonviolent Coordinating Committee and El Teatro Campesino of the United Farmworkers, were integral parts of the civil rights struggle. The mood of activism, experimentation, and optimism was not limited to artists of color, but it was in this cultural ferment that the concept of nonprofit, community-based, ethnically specific organizations of color took root.Many of the "culturally elite" regarded these efforts with skepticism because these "radical artists" attacked the prevailing view that tended to rate cultures and their aesthetics strictly by European standards. But the result was not the devaluation of one experience at the expense of another. Rather, ethnically specific arts organizations, by preserving and sharing their own cultural heritages, promoted the unique cultural and artistic pluralism of the United States.Q. According to the passage, all of the following are true of the artists of color who worked during the 1960s EXCEPT:a)They developed new forms of artistic expression.b)They contributed to the civil rights movement.c)They worked with people fromother disciplines.d)They often focused on their own ethnic traditions.e)They benefited greatly from government grants.Correct answer is option 'E'. Can you explain this answer? in English & in Hindi are available as part of our courses for GMAT. Download more important topics, notes, lectures and mock test series for GMAT Exam by signing up for free.

Here you can find the meaning of It is impossible to describe the arts in the United States without reference to our extraordinary ethnic and cultural diversity, but recognition of the full spectrum of different traditions has been slow in coming. The story of the realization of Americas extraordinary artistic diversity can be told in three chapters, culminating in the fairly recent proliferation of cultural centers of color, and demonstrates that art, like life, can flourish in many different settings.The settlement houses of the late 1800s, supported by private philanthropy and founded to provide artistic training, produce performances, and mount exhibitions, were designed to address the needs of poor European immigrants. As the communities in which settlement houses were located changed, so did their constituencies; and most of these organizations now serve communities of color. The oldest and best known, Hull House in Chicago, serves one of the countrys largest multiethnic communities with immigrants from Asia, Latin America, Africa, and other parts of the world.In the 1930s, a variety of visual, performing, and literary arts projects were initiated under the aegis of the Works Progress Administration and aimed not only at providing employment for artists but at generally encouraging a wide range of cultural expression. The achievements of these programs were substantial. The Negro Unit of the Federal Theater Project employed some 500 blacks in New York and produced dramas focusing on Nat Turner, Harriet Tubman, and Pierre Toussaint. The Federal Music Project featured all-black opera casts and preserved, recorded, and published Negro folk music, and thousands of African-Americans attended art classes funded by the Project in the South Side Community Art Center in Chicago and at the Harlem Art Center.The 1960s saw a grassroots movement among artists of color, when an unprecedented number of college-trained artists of color who possessed an understanding of the art forms of the larger society as well as those of their own communities, and who were tired of being rejected or stereotyped by established arts institutions, began to create informal groups and networks. They experimented with new artistic forms, often interdisciplinary, ethnocentric productions, in the process developing new audiences for the arts. The country was also in the throes of a cultural upheaval in which established models were challenged by young people from all racial, ethnic, and economic groups. Many of the cultural institutions established during this period, such as the Free Southern Theater of the Student nonviolent Coordinating Committee and El Teatro Campesino of the United Farmworkers, were integral parts of the civil rights struggle. The mood of activism, experimentation, and optimism was not limited to artists of color, but it was in this cultural ferment that the concept of nonprofit, community-based, ethnically specific organizations of color took root.Many of the "culturally elite" regarded these efforts with skepticism because these "radical artists" attacked the prevailing view that tended to rate cultures and their aesthetics strictly by European standards. But the result was not the devaluation of one experience at the expense of another. Rather, ethnically specific arts organizations, by preserving and sharing their own cultural heritages, promoted the unique cultural and artistic pluralism of the United States.Q. According to the passage, all of the following are true of the artists of color who worked during the 1960s EXCEPT:a)They developed new forms of artistic expression.b)They contributed to the civil rights movement.c)They worked with people fromother disciplines.d)They often focused on their own ethnic traditions.e)They benefited greatly from government grants.Correct answer is option 'E'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of It is impossible to describe the arts in the United States without reference to our extraordinary ethnic and cultural diversity, but recognition of the full spectrum of different traditions has been slow in coming. The story of the realization of Americas extraordinary artistic diversity can be told in three chapters, culminating in the fairly recent proliferation of cultural centers of color, and demonstrates that art, like life, can flourish in many different settings.The settlement houses of the late 1800s, supported by private philanthropy and founded to provide artistic training, produce performances, and mount exhibitions, were designed to address the needs of poor European immigrants. As the communities in which settlement houses were located changed, so did their constituencies; and most of these organizations now serve communities of color. The oldest and best known, Hull House in Chicago, serves one of the countrys largest multiethnic communities with immigrants from Asia, Latin America, Africa, and other parts of the world.In the 1930s, a variety of visual, performing, and literary arts projects were initiated under the aegis of the Works Progress Administration and aimed not only at providing employment for artists but at generally encouraging a wide range of cultural expression. The achievements of these programs were substantial. The Negro Unit of the Federal Theater Project employed some 500 blacks in New York and produced dramas focusing on Nat Turner, Harriet Tubman, and Pierre Toussaint. The Federal Music Project featured all-black opera casts and preserved, recorded, and published Negro folk music, and thousands of African-Americans attended art classes funded by the Project in the South Side Community Art Center in Chicago and at the Harlem Art Center.The 1960s saw a grassroots movement among artists of color, when an unprecedented number of college-trained artists of color who possessed an understanding of the art forms of the larger society as well as those of their own communities, and who were tired of being rejected or stereotyped by established arts institutions, began to create informal groups and networks. They experimented with new artistic forms, often interdisciplinary, ethnocentric productions, in the process developing new audiences for the arts. The country was also in the throes of a cultural upheaval in which established models were challenged by young people from all racial, ethnic, and economic groups. Many of the cultural institutions established during this period, such as the Free Southern Theater of the Student nonviolent Coordinating Committee and El Teatro Campesino of the United Farmworkers, were integral parts of the civil rights struggle. The mood of activism, experimentation, and optimism was not limited to artists of color, but it was in this cultural ferment that the concept of nonprofit, community-based, ethnically specific organizations of color took root.Many of the "culturally elite" regarded these efforts with skepticism because these "radical artists" attacked the prevailing view that tended to rate cultures and their aesthetics strictly by European standards. But the result was not the devaluation of one experience at the expense of another. Rather, ethnically specific arts organizations, by preserving and sharing their own cultural heritages, promoted the unique cultural and artistic pluralism of the United States.Q. According to the passage, all of the following are true of the artists of color who worked during the 1960s EXCEPT:a)They developed new forms of artistic expression.b)They contributed to the civil rights movement.c)They worked with people fromother disciplines.d)They often focused on their own ethnic traditions.e)They benefited greatly from government grants.Correct answer is option 'E'. Can you explain this answer?, a detailed solution for It is impossible to describe the arts in the United States without reference to our extraordinary ethnic and cultural diversity, but recognition of the full spectrum of different traditions has been slow in coming. The story of the realization of Americas extraordinary artistic diversity can be told in three chapters, culminating in the fairly recent proliferation of cultural centers of color, and demonstrates that art, like life, can flourish in many different settings.The settlement houses of the late 1800s, supported by private philanthropy and founded to provide artistic training, produce performances, and mount exhibitions, were designed to address the needs of poor European immigrants. As the communities in which settlement houses were located changed, so did their constituencies; and most of these organizations now serve communities of color. The oldest and best known, Hull House in Chicago, serves one of the countrys largest multiethnic communities with immigrants from Asia, Latin America, Africa, and other parts of the world.In the 1930s, a variety of visual, performing, and literary arts projects were initiated under the aegis of the Works Progress Administration and aimed not only at providing employment for artists but at generally encouraging a wide range of cultural expression. The achievements of these programs were substantial. The Negro Unit of the Federal Theater Project employed some 500 blacks in New York and produced dramas focusing on Nat Turner, Harriet Tubman, and Pierre Toussaint. The Federal Music Project featured all-black opera casts and preserved, recorded, and published Negro folk music, and thousands of African-Americans attended art classes funded by the Project in the South Side Community Art Center in Chicago and at the Harlem Art Center.The 1960s saw a grassroots movement among artists of color, when an unprecedented number of college-trained artists of color who possessed an understanding of the art forms of the larger society as well as those of their own communities, and who were tired of being rejected or stereotyped by established arts institutions, began to create informal groups and networks. They experimented with new artistic forms, often interdisciplinary, ethnocentric productions, in the process developing new audiences for the arts. The country was also in the throes of a cultural upheaval in which established models were challenged by young people from all racial, ethnic, and economic groups. Many of the cultural institutions established during this period, such as the Free Southern Theater of the Student nonviolent Coordinating Committee and El Teatro Campesino of the United Farmworkers, were integral parts of the civil rights struggle. The mood of activism, experimentation, and optimism was not limited to artists of color, but it was in this cultural ferment that the concept of nonprofit, community-based, ethnically specific organizations of color took root.Many of the "culturally elite" regarded these efforts with skepticism because these "radical artists" attacked the prevailing view that tended to rate cultures and their aesthetics strictly by European standards. But the result was not the devaluation of one experience at the expense of another. Rather, ethnically specific arts organizations, by preserving and sharing their own cultural heritages, promoted the unique cultural and artistic pluralism of the United States.Q. According to the passage, all of the following are true of the artists of color who worked during the 1960s EXCEPT:a)They developed new forms of artistic expression.b)They contributed to the civil rights movement.c)They worked with people fromother disciplines.d)They often focused on their own ethnic traditions.e)They benefited greatly from government grants.Correct answer is option 'E'. Can you explain this answer? has been provided alongside types of It is impossible to describe the arts in the United States without reference to our extraordinary ethnic and cultural diversity, but recognition of the full spectrum of different traditions has been slow in coming. The story of the realization of Americas extraordinary artistic diversity can be told in three chapters, culminating in the fairly recent proliferation of cultural centers of color, and demonstrates that art, like life, can flourish in many different settings.The settlement houses of the late 1800s, supported by private philanthropy and founded to provide artistic training, produce performances, and mount exhibitions, were designed to address the needs of poor European immigrants. As the communities in which settlement houses were located changed, so did their constituencies; and most of these organizations now serve communities of color. The oldest and best known, Hull House in Chicago, serves one of the countrys largest multiethnic communities with immigrants from Asia, Latin America, Africa, and other parts of the world.In the 1930s, a variety of visual, performing, and literary arts projects were initiated under the aegis of the Works Progress Administration and aimed not only at providing employment for artists but at generally encouraging a wide range of cultural expression. The achievements of these programs were substantial. The Negro Unit of the Federal Theater Project employed some 500 blacks in New York and produced dramas focusing on Nat Turner, Harriet Tubman, and Pierre Toussaint. The Federal Music Project featured all-black opera casts and preserved, recorded, and published Negro folk music, and thousands of African-Americans attended art classes funded by the Project in the South Side Community Art Center in Chicago and at the Harlem Art Center.The 1960s saw a grassroots movement among artists of color, when an unprecedented number of college-trained artists of color who possessed an understanding of the art forms of the larger society as well as those of their own communities, and who were tired of being rejected or stereotyped by established arts institutions, began to create informal groups and networks. They experimented with new artistic forms, often interdisciplinary, ethnocentric productions, in the process developing new audiences for the arts. The country was also in the throes of a cultural upheaval in which established models were challenged by young people from all racial, ethnic, and economic groups. Many of the cultural institutions established during this period, such as the Free Southern Theater of the Student nonviolent Coordinating Committee and El Teatro Campesino of the United Farmworkers, were integral parts of the civil rights struggle. The mood of activism, experimentation, and optimism was not limited to artists of color, but it was in this cultural ferment that the concept of nonprofit, community-based, ethnically specific organizations of color took root.Many of the "culturally elite" regarded these efforts with skepticism because these "radical artists" attacked the prevailing view that tended to rate cultures and their aesthetics strictly by European standards. But the result was not the devaluation of one experience at the expense of another. Rather, ethnically specific arts organizations, by preserving and sharing their own cultural heritages, promoted the unique cultural and artistic pluralism of the United States.Q. According to the passage, all of the following are true of the artists of color who worked during the 1960s EXCEPT:a)They developed new forms of artistic expression.b)They contributed to the civil rights movement.c)They worked with people fromother disciplines.d)They often focused on their own ethnic traditions.e)They benefited greatly from government grants.Correct answer is option 'E'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice It is impossible to describe the arts in the United States without reference to our extraordinary ethnic and cultural diversity, but recognition of the full spectrum of different traditions has been slow in coming. The story of the realization of Americas extraordinary artistic diversity can be told in three chapters, culminating in the fairly recent proliferation of cultural centers of color, and demonstrates that art, like life, can flourish in many different settings.The settlement houses of the late 1800s, supported by private philanthropy and founded to provide artistic training, produce performances, and mount exhibitions, were designed to address the needs of poor European immigrants. As the communities in which settlement houses were located changed, so did their constituencies; and most of these organizations now serve communities of color. The oldest and best known, Hull House in Chicago, serves one of the countrys largest multiethnic communities with immigrants from Asia, Latin America, Africa, and other parts of the world.In the 1930s, a variety of visual, performing, and literary arts projects were initiated under the aegis of the Works Progress Administration and aimed not only at providing employment for artists but at generally encouraging a wide range of cultural expression. The achievements of these programs were substantial. The Negro Unit of the Federal Theater Project employed some 500 blacks in New York and produced dramas focusing on Nat Turner, Harriet Tubman, and Pierre Toussaint. The Federal Music Project featured all-black opera casts and preserved, recorded, and published Negro folk music, and thousands of African-Americans attended art classes funded by the Project in the South Side Community Art Center in Chicago and at the Harlem Art Center.The 1960s saw a grassroots movement among artists of color, when an unprecedented number of college-trained artists of color who possessed an understanding of the art forms of the larger society as well as those of their own communities, and who were tired of being rejected or stereotyped by established arts institutions, began to create informal groups and networks. They experimented with new artistic forms, often interdisciplinary, ethnocentric productions, in the process developing new audiences for the arts. The country was also in the throes of a cultural upheaval in which established models were challenged by young people from all racial, ethnic, and economic groups. Many of the cultural institutions established during this period, such as the Free Southern Theater of the Student nonviolent Coordinating Committee and El Teatro Campesino of the United Farmworkers, were integral parts of the civil rights struggle. The mood of activism, experimentation, and optimism was not limited to artists of color, but it was in this cultural ferment that the concept of nonprofit, community-based, ethnically specific organizations of color took root.Many of the "culturally elite" regarded these efforts with skepticism because these "radical artists" attacked the prevailing view that tended to rate cultures and their aesthetics strictly by European standards. But the result was not the devaluation of one experience at the expense of another. Rather, ethnically specific arts organizations, by preserving and sharing their own cultural heritages, promoted the unique cultural and artistic pluralism of the United States.Q. According to the passage, all of the following are true of the artists of color who worked during the 1960s EXCEPT:a)They developed new forms of artistic expression.b)They contributed to the civil rights movement.c)They worked with people fromother disciplines.d)They often focused on their own ethnic traditions.e)They benefited greatly from government grants.Correct answer is option 'E'. Can you explain this answer? tests, examples and also practice GMAT tests.