The issue of women, art, and feminism has been most urgently raised by a number of women artists. Several approaches...
GMAT Reading Comprehension : (RC) Questions
The issue of women, art, and feminism has been most urgently raised by a number of women artists. Several approaches to the problem of defining feminist art have evolved and are being discussed and developed within the feminist art movement. One particular approach has suggested that some sort of female aesthetic or sensibility exists, involving an imagery and formal style specific to women. Proponents insist that an authentic artistic language is being created, corresponding to the distinct social experience of women, independent of "male-defined" art, and essentially liberating. Others argue that the theory of a female aesthetic really restricts women in that it limits them to certain "feminine" shapes, colors, forms, and images. In other words, the female aesthetic seems possibly to be no more than a rehabilitated artistic ghetto, furbished with less than satisfactory answers to the hard question of how to define feminist art. Moreover, some see the rise of a trendy "feminine sensibility" as clearly opportunist. They point, for example, to the odd coincidence that the so-called female aesthetic is strangely reminiscent of the conventions of much currently fashionable art, and they predict further shifts in the aesthetic as art-world fashions change.
The theory of a female sensibility seems to be based on two equally extreme premises, implicit and not explicit. First, it assumes that an individual's experience is primarily and perhaps completely determined by gender. Women and men are held to inhabit utterly separate worlds, and variations of social or ethnic experience are considered clearly subordinate to gender distinctions. Its second assumption is that whatever exists today must be essentially unchangeable as the battle of the sexes is eternal and historical. It follows, then, that the only way women artists can operate is to accept these terms and develop their own artistic strengths, autonomously and in opposition to men.
Another approach, both balanced and sensible, would argue for a more transcendental view of social experience and of art. Such a point of view corresponds to the opinion within some sectors of the women's movement that the meaning of one's personhood and the nature of relationships between the sexes are an evolving phenomena that can be grasped and acted upon. Pat Mainardi has outlined one interpretation of what this might mean for women artists: "The only feminine aesthetic worthy of the name is that women artists must be free to explore the entire range of art possibilities. We who have been labeled, stereotyped, and gerrymandered out of the very definition of art must be free to define art, not to pick up the crumbs from the Man's table ... We must begin to define women's art as what women (artists) do, not try to slip and squeeze ourselves through the loophole of the male art world."
Which of the following titles best describes the content of the passage?
1. Passage Analysis:
Progressive Passage Analysis
| Text from Passage | Analysis |
|---|---|
| The issue of women, art, and feminism has been most urgently raised by a number of women artists. | What it says: Women artists are the main voices bringing attention to questions about women, art, and feminism. What it does: Introduces the broad topic and establishes who is driving this conversation. Source/Type: Author's factual statement Connection to Previous Sentences: This is the opening - sets the stage for the entire discussion. Visualization: Picture 100 voices in an art discussion - maybe 80 of them are women artists raising these questions, while others (male artists, critics, etc.) are responding. What We Know So Far: Women artists are leading a discussion about feminism and art What We Don't Know Yet: What specific approaches exist, what the debates are about |
| Several approaches to the problem of defining feminist art have evolved and are being discussed and developed within the feminist art movement. | What it says: There are multiple ways people are trying to figure out what "feminist art" means, and these ideas are still being worked on. What it does: Sets up that we'll learn about different approaches - this is a roadmap sentence. Source/Type: Author's factual observation Connection to Previous Sentences: This builds directly on sentence 1 - the "issue" raised by women artists is specifically about "defining feminist art" Visualization: Think of 3-4 different groups of people, each saying "Here's what feminist art should be..." and they're all still working out the details. Reading Strategy Insight: This is a classic roadmap sentence - expect the passage to walk through these "several approaches" |
| One particular approach has suggested that some sort of female aesthetic or sensibility exists, involving an imagery and formal style specific to women. | What it says: The first approach thinks there's a special way women create art - certain images and styles that are naturally "female." What it does: Introduces Approach #1 from the "several approaches" mentioned. Source/Type: Description of one group's theory Connection to Previous Sentences: This delivers on the promise of sentence 2 - here's the first of those "several approaches." Visualization: Imagine an art gallery with two sections: "Female aesthetic" (soft colors, organic shapes, personal imagery) vs. "Male aesthetic" (harsh lines, abstract concepts) What We Know So Far: Women artists raised questions about feminist art; multiple approaches exist; Approach #1 = special female aesthetic What We Don't Know Yet: What supporters say about this approach, what critics say, what other approaches exist |
Why It's Wrong:
- This title suggests the passage examines how women's art movement has influenced aesthetic theory broadly
- The passage doesn't discuss the movement's impact on aesthetic theory in general - it focuses specifically on analyzing one approach (female aesthetic) within feminist art
- The scope is too broad and misses the passage's specific analytical focus
Common Student Mistakes:
- Does this title capture the general topic area? → While it mentions relevant concepts, the passage doesn't examine broad "impact" but rather analyzes specific approaches and their problems
- Isn't the passage about women's art movement? → The passage uses the movement as context but focuses specifically on examining the female aesthetic theory and its assumptions
Why It's Wrong:
- Contains a grammatical error ("It's" should be "Its")
- Suggests the passage focuses on how the female aesthetic has impacted artistic conventions
- The passage doesn't discuss the female aesthetic's impact on conventions - it questions whether the aesthetic is just following existing trendy conventions
- Misses the critical analysis aspect that dominates the passage
Common Student Mistakes:
- Doesn't the passage discuss the female aesthetic extensively? → Yes, but it analyzes the theory itself, not its impact on artistic conventions
- What about the discussion of art world fashions? → The passage suggests the female aesthetic follows fashions, not that it impacts them
Why It's Right:
- Accurately reflects the passage's primary focus on analyzing the female aesthetic theory
- Captures the author's systematic examination of the theory's underlying "principles and assumptions" (particularly the "two equally extreme premises")
- Matches the passage structure: presentation of the theory, followed by detailed analysis of its foundations and problems
- Uses precise language that reflects the passage's analytical rather than descriptive approach
Key Evidence: "The theory of a female sensibility seems to be based on two equally extreme premises, implicit and not explicit" - this shows the author's focus on examining the underlying assumptions of the theory.
Why It's Wrong:
- Too broad in scope - covers "Feminism, Women's Liberation, and Aesthetic Theory" when the passage focuses specifically on one approach to feminist art
- Emphasizes "Social Change" which isn't a central theme in the passage
- Misses the analytical focus on examining specific assumptions and principles
- Makes the passage sound like a broad survey rather than a focused analysis
Common Student Mistakes:
- Doesn't the passage connect to broader feminist themes? → While it mentions these connections, the core content is specifically about analyzing the female aesthetic approach
- What about Mainardi's views on social change? → This appears only at the end as an alternative; the bulk of the passage analyzes one specific theory
Why It's Wrong:
- Focuses on "uniqueness" when the passage actually questions whether there is anything unique about women's art
- Suggests the passage is about women's art existing within the "Male Art World" rather than analyzing approaches to defining feminist art
- Misses the critical examination aspect and the detailed analysis of theoretical assumptions
- The passage actually challenges the idea of inherent uniqueness in women's art
Common Student Mistakes:
- Doesn't the passage discuss women artists working in opposition to male-defined art? → This is mentioned as one problematic conclusion of the female aesthetic theory, not as the passage's main focus
- Isn't uniqueness what the female aesthetic theory claims? → Yes, but the passage examines and critiques these claims rather than accepting them