GRE阅读模拟在线练习附答案二百五十二

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　　The earliest controversies about the relationshipbetween photography and art centered on whetherphotography's fidelity to appearances anddependence on a machine allowed it to be a fine artas distinct from merely a practical art. Throughoutthe nineteenth century, the defense of photographywas identical with the strug- gle to establish it as afine art. Against the charge that photography was asoulless, mechanical copying of real- ity, photographers asserted that it was instead aprivileged way of seeing, a revolt against commonplace vision, and no less worthy an artthan painting.

　　Ironically, now that photography is securely established as a fine art, many photographersfind it pretentious or irrelevant to label it as such. Serious photographers variously claim tobe finding, recording, impartially observing, witnessing events, exploring themselves—anything but making works of art. In the nineteenth century, photography's association withthe real world placed it in an ambivalent relation to art; late in the twentieth century, anambivalent relation exists because of the Modernist heritage in art. That importantphotographers are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art, shows the extent to whichthey simply take for granted the concept of art imposed by the triumph of Modernism: thebetter the art, the more subversive it is of the traditional aims of art.

　　Photographers' disclaimers of any interest in making art tell us more about the harried statusof the contemporary notion of art than about whether photography is or is not art. Forexample, those photographers who suppose that, by taking pictures, they are getting awayfrom the pretensions of art as exemplified by painting remind us of those Abstract Expressionistpainters who imagined they were getting away from the intellectual austerity of classicalModernist painting by concentrating on the physical act of painting. Much of photography'sprestige today derives from the convergence of its aims with those of recent art, particularlywith the dismissal of abstract art implicit in the phenomenon of Pop painting during the1960's. Appreciating photographs is a relief to sensi- bilities tired of the mental exertionsdemanded by abstract art. Classical Modernist painting—that is, abstract art as developed indifferent ways by Picasso, Kandinsky, and Matisse—presupposes highly developed skills oflooking and a familiarity with other paintings and the history of art. Photography, like Poppainting, reassures viewers that art is not hard; photography seems to be more about itssubjects than about art. Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worrythat the pro- motion of photography as an activity subversive of the traditional pretensionsof art has gone so far that the public will forget that photography is a distinctive and exaltedactivity—in short, an art.

　　In the passage, the author is primarily concerned with

　　A.defining the Modernist attitude toward art

　　B.explaining how photography emerged as a fine art after the controversies of the nineteenthcentury

　　C.explaining the attitudes of serious contemporary photographers toward photography as artand placing those attitudes in their historical context

　　D.defining the various approaches that serious contemporary photographers take toward theirart and assessing the value of each of those approaches

　　E.identifying the ways that recent movements in painting and sculpture have influenced thetechniques employed by serious photographers

　　Which of the following adjectives best describes “the concept of art imposed by thetriumph of Modernism” as the author represents it in lines25-27?

　　A.Objective

　　B.Mechanical

　　C.Superficial

　　D.Dramatic

　　E.Paradoxical

　　The author introduces Abstract Expressionist painters in order to

　　A.provide an example of artists who, like serious contemporary photographers, disavowedtraditionally accepted aims of modern art

　　B.call attention to artists whose works often bear a physical resemblance to the works ofserious contemporary photographers

　　C.set forth an analogy between the Abstract Expressionist painters and classical Modernistpainters

　　D.provide a contrast to Pop artists and others who created works that exemplify theModernist heritage in art

　　E.provide an explanation of why serious photog-raphy, like other contemporary visualforms,is not and should not pretend to be an art

　　According to the author, the nineteenth-century defenders of photography mentionedin the passage stressed that photography was

　　A.a means of making people familiar with remote locales and unfamiliar things

　　B.a technologically advanced activity

　　C.a device for observing the world impartially

　　D.an art comparable to painting

　　E.an art that would eventually replace the traditional arts

　　According to the passage, which of the following best explains the reaction of seriouscontemporary photographers to the question of whether photogra-phy is an art?

　　A.The photographers' belief that their reliance on an impersonal machine to produce theirart requires the surrender of the authority of their personal vision

　　B.The photographers' fear that serious photographymay not be accepted as an art by thecontem-porary art public

　　C.The influence of Abstract Expressionist painting and Pop Art on the subject matter of themod-ern photograph

　　D.The photographers' belief that the best art is subversive of art as it has previously beendefined

　　E.The notorious difficulty of defining art in its relation to realistic representation

　　According to the passage, certain serious contemporary photographers expresslymake which of the following claims about their photographs?

　　A.Their photographs could be created by almost devote to the activity.

　　B.Their photographs are not examples of art but are examples of the photographers' impartialobservation of the world.

　　C.Their photographs are important because of their subjects but not because of the responsesthey evoke in viewers.

　　D.Their photographs exhibit the same ageless principles of form and shading that have beenused in painting.

　　E.Their photographs represent a conscious glori-fication of the mechanical aspects oftwentieth-century life.

　　It can be inferred from the passage that the author most probably considers seriouscontemporary photography to be a

　　A.contemporary art that is struggling to be accepted as fine art

　　B.craft requiring sensitivity but by no means an art

　　C.mechanical copying of reality

　　D.modern art that displays the Modernist tendency to try to subvert the prevailing aims ofart

　　E.modern art that displays the tendency of all Modernist art to become increasingly formal andabstract

　　正确答案:C E A D D B D

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