2. 外语
  3. (1) The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to a

(1) The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to a

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问题     (1) 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.
    (2) 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.
    (3) 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 are 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.
    (4) 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 forget that photography is a distinctive and exalted activity—in short, an art.
It is implied in the last paragraph that many professional photographers________.
选项 A、think photography has lost its distinctive status as an art
B、think photography should not be put against traditional art
C、have forgotten that photography is an art
D、have neglected the miseries of the modern society
答案B
解析 推断题。末段中的have begun和…has gone so far等词以及段末破折号后的内容都表明摄影师认为摄影仍然是艺术，不应把摄影放在传统艺术的对立面。由此可见，选项B为本题答案。末段末句中的has gone so far…forget只是摄影师的一种worry。而不是他们的真正想法。所以选项A不正确；该句也表明摄影师仍然认为摄影是一门艺术，选项C与此相反，因此也不正确；选项D在文中并未讨论。
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