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  3. Apart from a new football stadium and some smart university buildings, most of Middlesbrough looks as though it came to a dead h

Apart from a new football stadium and some smart university buildings, most of Middlesbrough looks as though it came to a dead h

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问题     Apart from a new football stadium and some smart university buildings, most of Middlesbrough looks as though it came to a dead halt in the 1980s. It boomed on steel and chemicals after iron ore was discovered in 1850. Just over a century later, as Britain’s traditional industries failed, it seemed to have reached the end of the road. Now government leaders hope that splendor and glamour can revive it.
    The most startling sign of this improbable ambition is an expensive art gallery. The ￡19.2 million Middlesbrough Institute of Modern Art (MIMA) houses the local council’s collection of modern British paintings and ceramics. It opens on January 28th with works on loan for the occasion by artists rarely seen in the region—Picasso, Matisse, Jackson Pollock—alongside pictures by contemporary names such as Chris ofili and Damien Hirst.
    The glass-fronted modernist gallery, by Dutch architect Erick van Egeraat, sits on once-ruined land opposite the Victorian town hall and 1960s council buildings. The landscaped space in between has become a vast new square. "Middlesbrough lost its heart years ago," says Ray Mallon, the town’s frank elected mayor. "Now we have created a new heart."
    Locals are dubious. It looks nice, but they can’t see many people going to it; those who want culture go to Newcastle. Mr. Mallon is not worried by such comments. He says MIMA will lure some of the 7 million people who live within an hour and a halfs drive from the town, and persuade them to spend money there. With 5% of the town’s 137,600 residents claiming unemployment—twice the national average—and business registrations at half the national rate, outside money is needed.
    Using art for regeneration is a well-tried process, especially in northern England. Liverpool’s Tate North gallery and Salford’s Lowry Centre succeed because they are part of bigger attractions and in big cities. But Gateshead’s Baltic Mills art gallery and Sunderland’s National Glass Centre have struggled to draw visitors, and both have needed extra subsidies. Godfrey Worsdale, MIMA’s director, reckons he will achieve his aim of 110,000 visitors a year. Galleries that run into trouble, he says, tend to have single themes with niche appeal. Still, since 96% of MIMA’s cost has come from public funds and as two-thirds of the ￡1 million running cost will fall on local taxpayers, the council is taking a risk. "It is not going to be profitable," says Mr. Mallon bravely. "What it can do is make the town profitable."
Gateshead’s Baltic Mills art gallery and Sunderland’s National Glass Centre are cited as examples to show that
选项 A、they are confronted with difficulties in appealing to the visitors.
B、using art for regeneration ensures the success.
C、they are not part of bigger attractions or in big cities.
D、using art for regeneration sometimes also takes a risk.
答案D
解析 事实细节题，考查例证细节。根据题于定位至末段。末段开头举出了两个通过艺术使城市成功获得再生的例子来说明此举是一个well-tried process。随后在介绍Gateshead’s Baltic Mills art gallery和Sunder-land’s National Glass Centre时使用了But表转折，说它们需要补贴才能生存，所以选D项。A项说这两家艺术馆在吸引顾客方面碰到了问题，只是列举了事实，并不是举例的目的；文中说，利用艺术复兴只是well-tried process，并不能确
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