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  3. The distinction between making art and thinking and writing about it should imply neither a mutual exclusiveness nor a hiera

The distinction between making art and thinking and writing about it should imply neither a mutual exclusiveness nor a hiera

admin2009-05-19  104
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
    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    scholars, is an outdated model.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.
选项 A、reduce the level of control artists have over artistic institutions
B、increase the usefulness of creating a unifying artistic vocabulary
C、permit a greater level of development of knowledge concerning both
D、curtail interactions and establish false boundaries between the two fields
E、complicate the educational process of artists in an unfortunate manner
答案D
解析
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