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2006年GRE模拟试题第6部分

发布时间:2013-09-04 09:48:24 来源:苏州朗阁培训中心 编辑:苏州朗阁小编
2006年GRE模拟试题第6部分:  The earliest controversies about the relationship  between photography and art centered ...

 

2006年GRE模拟试题第6部分: 
 
  The earliest controversies about the relationship
 
  between photography and art centered on whether photo-
 
  graphy's fidelity to appearances and dependence on a
 
  machine allowed it to be a fine art as distinct from
 
  (5) merely a practical art. Throughout the nineteenth century,
 
  the defense of photography was identical with the strug-
 
  gle to establish it as a fine art. Against the charge that
 
  photography was a soulless, mechanical copying of real-
 
  ity, photographers asserted that it was instead a privileged
 
  (10)way of seeing, a revolt against commonplace vision, and
 
  no less worthy an art than painting.
 
  Ironically, now that photography is securely established
 
  as a fine art, many photographers find it pretentious or
 
  irrelevant to label it as such. Serious photographers vari-
 
  (15)ously claim to be finding, recording, impartially observ-
 
  ing, witnessing events, exploring themselves-anything
 
  but making works of art. In the nineteenth century,
 
  photography's association with the real world placed it
 
  in an ambivalent relation to art; late in the twentieth
 
  (20)century, an ambivalent relation exists because of the
 
  Modernist heritage in art. That important photographers
 
  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 which
 
  (25)they simply take for granted the concept of art imposed
 
  by the triumph of Modernism: the better 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 status of the contempo-
\
 
  (30)rary notion of art than about whether photography is or
 
  is not art. For example, those photographers who suppose
 
  that, by taking pictures, they are getting away from the
 
  pretensions of art as exemplified by painting remind us
 
  of those Abstract Expressionist painters who imagined
 
  (35)they were getting away from the intellectual austerity of
 
  classical Modernist painting by concentrating on the
 
  physical act of painting. Much of photography's prestige
 
  today derives from the convergence of its aims with those
 
  of recent art, particularly with the dismissal of abstract
 
  (40)art implicit in the phenomenon of Pop painting during
 
  the 1960's. Appreciating photographs is a relief to sensi-
 
  bilities tired of the mental exertions demanded by
 
  abstract art. Classical Modernist painting-that is,
 
  abstract art as developed in different ways by Picasso,
 
  (45)Kandinsky, and Matisse-presupposes highly developed
 
  skills of looking and a familiarity with other paintings
 
  and the history of art. Photography, like Pop painting,
 
  reassures viewers that art is not hard; photography seems
 
  to be more about its subjects than about art.
 
  (50)  Photography, however, has developed all the anxieties
 
  and self-consciousness of a classic Modernist art. Many
 
  professionals privately have begun to worry that the pro-
 
  motion of photography as an activity subversive of the
 
  traditional pretensions of art has gone so far that the
 
  (55)public will forget that photography is a distinctive and
 
  exalted activity-in short,an art.

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