21.In the passage， the author is primarily concerned
with
（A） defining the Modernist attitude toward art
（B） explaining how photography emerged as a fine
art after the controversies of the nineteenth
century
（C） explaining the attitudes of serious contemporary
photographers toward photography as art and
placing those attitudes in their historical context
（D） defining the various approaches that serious
contemporary photographers take toward their
art and assessing the value of each of those
approaches
（E） identifying the ways that recent movements in
painting and sculpture have influenced the
techniques employed by serious photographers
22.Which of the following adjectives best describes
“the concept of art imposed by the triumph of
Modernism“ as the author represents it in lines25-27？
（A） Objective
（B） Mechanical
（C） Superficial
（D） Dramatic
（E） Paradoxical
23. The author introduces Abstract Expressionist
painters （lines 34） in order to
（A） provide an example of artists who， like serious
contemporary photographers， disavowed
traditionally accepted aims of modern art
（B） call attention to artists whose works often bear
a physical resemblance to the works of serious
contemporary photographers
（C） set forth an analogy between the Abstract
Expressionist painters and classical Modernist
painters
（D） provide a contrast to Pop artists and others who
created works that exemplify the Modernist
heritage in art
（E） provide an explanation of why serious photog-
raphy， like other contemporary visual forms，
is not and should not pretend to be an art
24.According to the author， the nineteenth——century
defenders of photography mentioned in the passage
stressed that photography was
（A） a means of making people familiar with remote
locales and unfamiliar things
（B） a technologically advanced activity
（C） a device for observing the world impartially
（D） an art comparable to painting
（E） an art that would eventually replace the
traditional arts
with
（A） defining the Modernist attitude toward art
（B） explaining how photography emerged as a fine
art after the controversies of the nineteenth
century
（C） explaining the attitudes of serious contemporary
photographers toward photography as art and
placing those attitudes in their historical context
（D） defining the various approaches that serious
contemporary photographers take toward their
art and assessing the value of each of those
approaches
（E） identifying the ways that recent movements in
painting and sculpture have influenced the
techniques employed by serious photographers
22.Which of the following adjectives best describes
“the concept of art imposed by the triumph of
Modernism“ as the author represents it in lines25-27？
（A） Objective
（B） Mechanical
（C） Superficial
（D） Dramatic
（E） Paradoxical
23. The author introduces Abstract Expressionist
painters （lines 34） in order to
（A） provide an example of artists who， like serious
contemporary photographers， disavowed
traditionally accepted aims of modern art
（B） call attention to artists whose works often bear
a physical resemblance to the works of serious
contemporary photographers
（C） set forth an analogy between the Abstract
Expressionist painters and classical Modernist
painters
（D） provide a contrast to Pop artists and others who
created works that exemplify the Modernist
heritage in art
（E） provide an explanation of why serious photog-
raphy， like other contemporary visual forms，
is not and should not pretend to be an art
24.According to the author， the nineteenth——century
defenders of photography mentioned in the passage
stressed that photography was
（A） a means of making people familiar with remote
locales and unfamiliar things
（B） a technologically advanced activity
（C） a device for observing the world impartially
（D） an art comparable to painting
（E） an art that would eventually replace the
traditional arts