Reading comp PrepTest 140 · Section 4 · Question 5
Passage
Passage walkthrough
Paragraph 1
- Paragraph note
- Intro of artist and background on his style
- Views, minor Meta-Structures, and the author's attitude
- Sam Gilliam - 50s and 60s; DC; Color Field style
- Color Field style - grew from abstract expressionism, from minimally representative abstractions to completely nonrepresentational
- Paragraph note
- Gilliam's motivation and a comparison to other African American contemporaries
- Views, minor Meta-Structures, and the author's attitude
- Other African American artists - representational, political
- Gilliam - Motivated as a reaction to contemporaries; their art didn't have room for subtlety or growth
- Example of contemporary - Collage of images from magazines
- Gilliam - Wanted something more evocative of complexity
- Paragraph note
- Expectations and Gilliam's development of style
- Views, minor Meta-Structures, and the author's attitude
- Broken expectation - African American artists will make "explicitly political art"
- Progression - Painted and folded canvases; to loose canvas draped in room (sculptural quality) like hanging clothes
- Thesis - Gilliam advanced view that the African American experience was best represented indirectly through mood
By breaking from his contemporaries and working against expectations for African American artists, Sam Gilliam's Color Field abstractions were able to better capture the nuance of the African American experience through creating a mood.
Key Lines:
Lines 12-16 - Gilliam's motivation is discussed, and his work is compared to his contemporaries
Lines 21-15 - An example of the other style
Lines 28-34 - What Gilliam wanted from his art
Lines 36-39 - Gilliam vs. expectations
Lines 53-59 - The Author's thesis on what Gilliam's work demonstrated
Meta-Structure:
Exploration of importance of an artist. This is a common topic/argument in RC.
Last Thoughts:
The passage goes into a lot of detail on several art styles—the Color Field style (Paragraph 1), the abstract expressionism it grew from, the more representative works of Gilliam's contemporaries, and the two "types" of Gilliam's work. We'll likely get questions about these, so it's important to be generally aware of the styles and also the differences. A good way to do this is to rely on examples as they're described and, for ones that don't have examples, picture something that fits the general description! Luckily, here, most have examples.
Question prompt
Why the credited answer is right
Credited answer: E
The notes below walk through why it fits the stem and how to eliminate the rest.
Question Type
Answer choices
-
ADraping and folding canvases Remaining source text redacted.
Why choice A is not credited
Incorrect. (Lines 45-48) This answer describes one type of "painting" done by Gilliam, so we should have noted it while reading through the passage. -
BGilliam refused to satisfy Remaining source text redacted.
Why choice B is not credited
Incorrect. (Lines 35-39) Expectations—and whether they're met—are frequently relevant on the exam (they have a subjective/objective nature), and so we noted this detail at the beginning of Paragraph 3. -
CGilliam's views on explicitly Remaining source text redacted.
Why choice C is not credited
Incorrect. (Lines 12-16; Lines 35-39) It's noted that Gilliam reacted against contemporary African American contemporaries, "much of which" was explicitly political to the point where the public developed an expectation for it. In bucking those expectations, it's implied that Gilliam's views were rare. This answer also lines up with the overall point of the passage—that Gilliam was an innovator who went against expectations and trends of the time. -
DThe Color Field style Remaining source text redacted.
Why choice D is not credited
Incorrect. Lines 6-11; Lines 16-21; Lines 28-35) Throughout the passage, the Author notes that Gilliam felt other art was too conservative and literal, and he became a member of the Color Field style in order to free himself up for "experimentation and innovation" (Line 21). -
EEveryday images such as Remaining source text redacted.
Why choice E matches the stem
Correct. Question Type:
Bizarro Must Be True
Strategy Overview:
Rely on our understanding of the passage, notes, and the passage itself
Answer Anticipation/Relevant Lines:
Bizarro Must Be True questions in RC can be the most time-consuming, as you have to find language that backs up 4 of the 5 answers in order to eliminate them. After all, you can't find something that doesn't exist, and so you'd have to compare the right answer against the entire passage in order to justify selecting it.
That said, there are a few things we can use to help us here. First, if an answer more or less lines up with the main point of the argument, then it's almost certainly something in the passage. Second, the correct answer often does bring up a concept from the passage, while either shifting the language away from that content, making it too strong, or contradicting the passage. If you can identify a part of the passage that shows an answer to fall into one of these camps, you can feel comfortable selecting it.
But these questions are mostly about time management, and we should be heading to the answers ASAP.
Answer Explanation:
(Lines 43-45) The passage notes that such an everyday image inspired Gilliam, but it doesn't say that such images are "most likely" to give artists inspiration. This answer takes something from the passage and strongly generalizes from it, and so it's not something that the passage says, making it the correct answer.
Key Takeaway:
The correct answer in an RC Bizarro Must Be True question often does bring up a concept from the passage, but it will shift the language away from that content, make it too strong or general, or contradict the passage. Here, the correct answer fell into the second camp, taking an example from the passage and treating it as if it were the "most likely" thing to happen.
What this tests
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Started by FS101