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No.147

2003.10 12
ipad
Questions4050

ThecitiesintheUnitedStateshavebeenthemostvisiblesponsorsandbeneficiariesofprojectsthatplace

artinpublicplaces.Theyhaveshownexceptionalimaginationinapplyingthediverseformsofcontempora
ryarttoawidevarietyofpurposes.Theactivitiesobservedinanumberofpioneercitiessponsoringarti

npublicplacesabroadeningexplorationofpublicsites,anincreasingawarenessamongbothsponsorsa
ndthepublicofthevarietiesofcontemporaryartisticpractice,andagrowingpublicenthusiasmareincre
asinglycharacteristicofcitiesacrossthecountry.Withmanycitiesnowundergoingreneweddevelopment,
opportunitiesarecontinuouslyemergingfortheinclusionorartinneworrenewedpublicenvironments,in
cludingbuildings,plazas,parks,andtransportationfacilities.Theresultoftheseactivitiesisagroupofartw
gagaThe
orksthatreflectthediversityofcontemporaryartandthevaryingcharacterandgoalsofthesponsoringc
ommunities.

Insculpture,theprojectsrangefromacartoonlikeMermaidinMiamiBeachbyRoyLichtensteintoasmall
forestplantedinNewYorkCitybyAlanSonfist.Theuseofmuralsfollowedquicklyupontheuseofsculptu
reandhasbroughttopublicsitestheworkofartistsasdifferentastherealistThomasHartBentonandth

ePopartistRobertRauschenberg.Thespecializedrequirementsofparticularurbansituationshavefurther
expandedtheuseofartinpublicplaces:inMemphis,sculptorRichardHunthascreatedamonumenttoM
artinLutherKing,Jr.,whowasslainthereinNewYork,DanFlavinandBillBrandhavecontributedneona 1101
ndanimationworkstotheenhancementofmasstransitfacilities.Andinnumerouscities,artisbeingraise 1101
dasasymbolofthecommitmenttorevitalizeurbanareas. 1101
1101
Bycontinuingtosponsorprojectsinvolvingagrowingbodyofartinpublicplaces,citieswillcertainlyenlar
1101
gethesituationsinwhichthepublicencountersandgrowsfamiliarwiththevariousformsofcontemporar
1101
yart.Indeed,citiesareprovidingartistswithanopportunitytocommunicatewithanewandbroaderaudi
1101
ence.Artistsarerecognizingthedistinctionbetweenpublicandprivatespaces,andtakingthatintoaccoun
1101
twhenexecutingtheirpubliccommissions.Theyareworkinginnew,oftenmoredurablemedia,andonan
1101
unaccustomedscale.
1101
40.Whatisthepassagemainlyabout?B

(A)TheinfluenceofartonurbanarchitectureinUnitedStatescities

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(B)ThegrowthofpublicartinUnitedStatescities.

(C)TheincreaseinpublicappreciationofartintheUnitedStates

(D)ThedifferencesbetweenpublicartinEuropeandtheUnitedStates.

41.Thewordexceptionalinline2isclosestinmeaningtoA

(A)remarkable

(B)fearless

(C)expert

(D)visible

42.Allofthefollowingarementionedinparagraph1asresultsofthetrendtowardinstallingcontemporar
yartinpublicplacesintheUnitedStatesEXCEPTA

(A)thetransferofartworkfromprivatetopublicsites

(B)artworksthatrepresentacitysspecialcharacter

(C)greaterinterestinartbytheAmericanpublic

(D)abroaderunderstandingofthevarietiesofcontemporaryart

43.Accordingtothepassage,newsettingsforpublicartareappearingasaresultofC

(A)communitiesthatarebuildingmoreartmuseums

(B)artistswhoaremovingtourbanareas

(C)urbandevelopmentandrenewal

(D)anincreaseinthenumberofartistsintheUnitedStates.

44.TheauthormentionsRoyLichtensteinandAlanSonfistinline12inordertoC

(A)showthatcertainartistarefamousmostlyfortheirpublicart

(B)introducethesubjectofunusualworksofart

(C)demonstratethediversityofartworksdisplayedinpublic

(D)contrastthecitiesofMiamiBeachandNewYork

45.ItcanbeinferredfromthepassagethatthecityofMemphissponsoredaworkbyRichardHuntbecaus
ethecityauthoritiesbelievedthatB

(A)thesculpturewouldsymbolizetheurbanrenewalofMemphis

(B)MemphiswasanappropriateplaceforamemorialtoMartinLutherLing,Jr.

(C)theartworkwouldpromoteMemphisasacenterforthearts

(D)thesculpturewouldprovideapositiveexampletootherartists.

46.Thewordenhancementinline17isclosestinmeaningtoC

(A)replacement

(B)design

(C)improvement

(D)decoration

47.Thewordrevitalizeinline18isclosestinmeaningtoC

(A)showtheimportanceof

(B)promisetoenlarge

(C)bringnewlifeto

(D)provideartworksfor

48.Thewordthatinline22referstoD

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(A)contemporaryart

(B)opportunity

(C)audience

(D)distinction

49.Thewordexecutinginline23isclosestinmeaningtoD

(A)judging

(B)selling

(C)explaining

(D)producing

50.Accordingtoparagraph3,artistswhoworkonpublicartprojectsaredoingallofthefollowingEXCEPT
B

(A)creatingartworksthatareunusualinsize

(B)raisingfundstosponsorvariouspublicprojects

(C)exposingalargenumberofpeopletoworksofart

(D)usingnewmaterialsthatarelonglasting.

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