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  3. The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appea

The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appea

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问题    The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defence of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it Was instead a privileged 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 variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves -- anything but making works of art. They 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. It shows the extent to which 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 contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they arc getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined 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 art implicit in the phenomenon of Pop painting during the 1960’s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting -- that is, abstract art as developed in different ways by Picasso, 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.
   Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will for get that photography is a distinctive and exalted activity -- in short, an art.
How did the nineteenth-century defenders of photography stress the photography?
选项 A、They stressed photography was a means of making people happy.
B、It was art for recording the world.
C、It was a device for observing the world impartially.
D、It was an art comparable to painting.
答案D
解析 该题问：19世纪的摄影维护者是怎样强调摄影的？A项意为“他们强调摄影是使人们快乐的手段”；B项意为“是记录世界的艺术”；C项意为“摄影是公正观察世界的工具”；D项意为“摄影是一种艺术，可以和油画相媲美”。
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