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  3. The distinction between making art and thinking and writing about it

The distinction between making art and thinking and writing about it

游客2024-01-11  58
问题             The distinction between making art and thinking and writing about it
       should imply neither a mutual exclusiveness nor a hierarchic differentiation of
       these processes. Leonardo demonstrated that producing art and theorizing about
Line    it need not be antithetically opposed activities and that meaningful contributions
(5)     can be achieved successfully in more than one field. Inexplicably, few theorists
       have built as memorable architectural structures as his and even fewer artists
       have been entrusted with the directorship of an influential art institution.
       Unfortunately, as theory and practice became more specialized in the modern
       era and their operational framework clearly defined both in the cultural milieu
(10)    and the educational process, their independent paths and boundaries have
       curtailed possibilities of interaction. The creations of categories and divisions
       have further emphasized highly individualized idiosyncrasies and, by exposing
       differences, diminished the value of a unifying artistic vocabulary. The
       transformative cultural process of the last decades has critically examined the
(15)    artificial separations between theoretical and studio practices and disclosed
       viable connections between making, writing, thinking, looking and talking
       about art. The recent dialogue between the various components of the artistic
       discourse has recognized the common denominators shared by theoretical
       analyses and artistic production, one of which is clearly exposed by the
(20)    argument that the central objective of the theorist and artist is to unmask and
       understand artistic meanings in painting or text.
           The notion that "true" art is the product of individuals who are incapable of
       in-depth understanding, in stark contrast to erudite, restrained and controlled
       scholars, is an outdated model. The assumption that artists make art but cannot
(25)    or do not have to talk or write about it and that theorists rarely know anything
       about the creative process, has been consistently refuted by the many texts
       written from Leonardo da Vinci to Mary Kelly. Even van Gogh, a martyr of the
       stereotypical "misunderstood genius," whose artistic career has been distorted
       by scores of films and books, wrote with lucidity and insight about art and his
(30)    work. Apparently, the "mystery" of the creative process, jealously protected
       by artists but also selectively cultivated by some art historians has been both a
       fascination and frustration for those extrinsic to the process and artists have
       exposed the intimacy of creativity while acknowledging the role of cognition in
       creativity.
(35)         Even the ironic and subversive demise of authorship of the post-modern and
       electronic age acknowledges, at least indirectly, the value of the artist’s
       individual participation. However, many contemporary artists have abandoned
       the hierarchic segregation of the inner realm of the creator and, by combining
       theoretical and studio practices, brought a reconciliatory tone to the processes
(40)    of making art and analyzing it. Their works, which are often simultaneously
       artistic productions and critique of the artistic discourse, make use of visual and
       textual forms to expose the connection between looking and thinking as the
       essential attribute to both creating and understanding art. [br] It can be inferred from the passage that prior to the modern era artistic practice was regarded as
选项 A、a hermetic field without potential for collaboration, given that it was almost exclusively populated by "misunderstood geniuses"
B、a field less isolated from the practice of critical analysis than the artistic process of the present era
C、more meaningful and useful as a self-critical force than the aesthetic judgments of non-artists, especially art historians
D、primarily concerned with the masking and concealment of artistic meanings from the general public
E、seldom times as specialized as the various branches of science from which art has traditionally been distinguished
答案 B
解析
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