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. In the nineteen century, photography' s association with the real world placed it in an ambivalent relation to art; late in the twentieth 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 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 slaws of the contemporary notion of art than about whether photography is or 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.
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.
In the passage, the author is primarily concerned with ______.
A.defining the Modernist attitude toward art
B.explaining the attitudes of serious contemporary photographers toward photography as art and placing those attitudes in their historical context
C.explaining how photography emerged as a fine art after the controversies of the nineteenth century
D.defining the various approaches that serious contemporary photographers take toward the art and assessing the value of each of those approaches
第1题
对于痤疮的日常护理,以下说法错误的是()。
A.不可随便挤压痤疮
B.保持面部清洁
C.注意肝脏、胃肠的调理
D.多吃油腻食物
第2题
关于痤疮的日常护理错误的是
A、避免使用含油脂及粉质过多的化妆品
B、少吃刺激性食物,多吃新鲜蔬菜等
C、挤捏
D、控制脂肪糖类饮食
E、常用温水洗涤患处
第3题
关于痤疮的日常护理哪项错误
A.避免使用含油脂及粉质过多的化妆品
B.少吃刺激性食物,多吃新鲜蔬菜等
C.挤捏
D.控制脂肪糖类饮食
E.常用温水洗涤患处
第4题
关于痤疮的日常护理哪项错误
A.避免使用含油脂及粉质过多的化妆品
B.少吃刺激性食物,多吃新鲜蔬菜等
C.挤捏
D.控制脂肪糖类饮食
E.常用温水洗涤患处
第7题
关于痤疮的防治方法,下列哪项叙述是错误的
A.保持精神愉快
B.不吸烟、饮酒
C.可以长期外用激素类药膏
D.经常清洁面部
E.不要挤压痤疮
第8题
有关特殊类型的痤疮的叙述,下列哪项是错误的()
A.痤疮突然加重伴有全身症状____暴发性痤疮
B.糖皮质激素____激素性痤疮
C.接触石油、焦油____职业性痤疮
D.母体雌激素____婴儿痤疮
E.与月经密切关系____月经前痤疮
第9题
对痤疮皮肤进行日常护理时,()随意挤压,避免感染。
A.可以
B.不可
C.可以多次
D.没有特别规定
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