问答题Should the government build art galleries?
问答题
Should the government build art galleries?
参考解析
解析：
可以回答政府应通过建设更多的艺术画廊来宣传学习艺术的重要性，这样有助于发展学生的艺术能力，提高市民的艺术修养。
可以回答政府应通过建设更多的艺术画廊来宣传学习艺术的重要性，这样有助于发展学生的艺术能力，提高市民的艺术修养。
相关考题：
In 1999, the government spent about $ 39 billion to ______.A. improve the prison conditionsB. keep men and women in prisonC. build houses for prisonersD. maintain the prisons
We can learn from the last paragraph that the author believes ________.[A] happiness more often than not ends in sadness[B] the anti-happy art is distasteful but refreshing[C] misery should be enjoyed rather than denied[D] the anti-happy art flourishes when economy booms
DThe Cost of Higher EducationIndividuals (个人) should pay for their higher education.A university education is of huge and direct benefit to the individual. Graduates earn more than non-graduates. Meanwhile, social mobility is ever more dependent on having a degree. However, only some people have it. So the individual, not the taxpayers, should pay for it. There are pressing calls on the resources (资源) of the government. Using taxpayers' money to help a small number of people to earn high incomes in the future is not one of them.Full government funding (资助) is not very good for universities. Adam Smith worked in a Scottish university whose teachers lived off student fees. He knew and looked down upon 18th-century Oxford, where the academics lived comfortably off the income received from the government. Guaranteed salaries, Smith argued, were the enemy of hard work; and when the academics were lazy and incompetent, the students were similarly lazy.If students have to pay for their education, they not only work harder, but also demand more from their teachers. And their teachers have to keep them satisfied. If that means taking teaching seriously, and giving less time to their own research interests, that is surely something to celebrate.Many people believe that higher education should be free because it is good for the economy (经济). Many graduates clearly do contribute to national wealth, but so do all the businesses that invest (投资) and create jobs. If you believe that the government should pay for higher education because graduates are economically productive, you should also believe that the government should pay part of business costs. Anyone promising to create jobs should receive a gift of capital from the government to invest. Therefore, it is the individual, not the government, who should pay for their university education.68. The underlined word "them" in Paragraph 2 refers toA. taxpayersB. pressing callsC. college graduatesD. government resources
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By saying "spending of any sort became deeply unfashionable" (Line 1-2, Para.3), the author sug- gests that（ ）[A] collectors were no longer actively involved in art-market auctions[B] people stopped every kind of spending and stayed away from galleries[C] art collection as a fashion had lost its appeal to a great extent[D] works of art in general had gone out of fashion so they were not worth buying
Text 4 Shortly after The Economist went to press,about 25,000 people were expected to rurn up at the London Art Fair.Your correspondent visited just before,as 128 white booths were being filled with modern paintings and sculptures.Dealers clutched mobile phones to their ears or gathered in small groups.They seemed nervous-as well they might be."I can eam a year's living in one fair,"said one harried dealer while stringing up a set oflights.Before 1999 London had just one regular contemporary art fair,remembers Will Ramsay,boss of the expanding Affordable Art Fair.This year around 20 will be held in Britain,mostly in the capitaL Roughly 90 will take place worldwide:The success of larger events such as Frieze,which started in London,has stimulated the growth of smaller fairs specialising in craft work,ceramics and other things.Art14,which started last year,specialises in less well-known intemational galleries,showing art from Sub-Saharan Africa,South Korea and Hong Kong.One explanation for the boom is the overall growth of the modern-art market.Four fifihs of all art sold at auction worldwide last year was from the 20th or 21st century,according to Artprice,a database.In November an auction in New York of modern and contemporary art made$691m（￡422m）,easily breaking the previous record.As older art becomes harder to buy-much ofit is locked up in museums-demand for recent works is rising.London's art market in particular has been boosted by an influx of rich immigrants from Russia,China and the Middle East."When I started 23 years ago I had not a single non-Western foreign buyer,"says Kenny Schachter,an art dealer."It's a different world now."And London's new rich buy arl differently.They ofien spend little time in the capital and do not know it well.Traipsing around individual galleries is inconvenient,particularly as galleries have moved out of central London.The mall-like set-up of a fair is much more suitable.Commercial galleries used to rely on regular visits from rich Britons seeking to fumish their stately homes.Many were family friends.The new art buyers have no such loyalty.People now visit galleries mainly to go to events and to be seen,says Alan Cristea,a gallery owner on Cork street in Mayfair.Fairs,and the parties that spring up around them,are much better places to be spotted.Some galleries are feeling squeezed.Bemard Jacobson runs a gallery opposite Mr Cristea.The changing art market reminds him ofwhen his father,a chemist,was eclipsed by Boots,a pharmaceutical chain,in the 1960s.Seven galleries in Cork Street relocated this month to make way for a redevelopment;five more may follow later this year.Yet the rise ofthe fairs means galleries no longer require prime real estate,thinks Sarah Monk of the London Art Fair.With an intemational clientele,many can work online or from home.Although some art fairs still require their exhibitors to have a gallery space,increasingly these are small places outside central London or beyond the city altogether.One gallery owner says few rich customers ever visit his shop in south London.He makes all his contacts at the booths he sets up at fairs,which might be twice the sizc of his store."It's a little like fishing:'he explains."You move to where the pike is."The best title of this text would be______A.The Changing Place of GalleriesB.The Proper Opening ofArt FairsC.The Thorny Questions ofArt FairsD.The Hopeless Stories ofArt Market
Shortly after The Economist went to press,about 25,000 people were expected to tum up at the London An Fair.Your correspondent visited just before,as 128 white booths were being filled with modern paintings and sculptures.Dealers clutched mobile phones to their ears or gathered in small groups.They seemed nervous-as well ihey mighl be."I can eam a year's living in one fair,"said one harried dealer while slringing up a set of lights.Before 1999 London had just one regular contemporary art fair,remembers Will Ramsay,boss of the expanding Affordable Art Fair.This year around 20 will be held in Britain,mostly in the cap-ital.Roughly 90 will iake place worldwide.The success of larger events such as Fneze,which star ted in London,has stimulated the growth of smaller fairs specialising in craft work,ceramics and other things.Artl4,which started last year,specialises in less weU-known intemational galleries,showing art from Sub-Sahuan Africa,South Korea and Hong Kong.One explanation for the boom is the overall gromth of the modem-art market.Four-rifths of all art sold at auction worldwide last year was from the 20th or 21st century,according to Artprice,a database.In November an auction in New York of modern and contemporary art made$691m,easily breaking the previous record.As older art becomes harder to buy-much of it is locked up in museums-demand for recent works js rising.London's art market in particular has been boosted by an influx of rich immigrants from Russia,China and the Middle East."When I sttuled 23 years ago I had not a single non-Westem foreign buyer,"says Kenny Schachter,an art dealer."It's a different world now."And London's new rich buy art differenLly.They often spend little time in the capital and do not know it well.Traipsing around individual galleries is inconvenient,particularly as galleries have moved out of central London.The mall-like set-up of a fair is much more suiLable.Commercial galleries used to rely on regular visits from rich Briions seeking to fumish their stately homes.Many were family friends.The new art buyers have no such loyalty.People now visit galleries mainly to go to evenLs and to be seen,says Alan Cristea,a gallery owner on Cork street in Mayfair.Fairs,and the parties thaL spring up around them,are much better places to be spotted.Some galleries are feeling squeezed.Bernard Jacobson runs a gallery opposite Mr Cristea.The changing art market reminds him of his father,a chemist,who was eclipsed by a pharmaceutical chain,in the 1960s.Seven galleries in Cork Street relocated this month to make way for a redevel-opment;five more may follow later this year.Yet the rise of the fairs means galleries no longer require prime real estate,thinks Sarah Monk of the London Art Fair.With an inlernational clientele,many can work online or from home.Although some art fairs still require their exhibitors to have a gallery space,increasingly these are small places outside central London or beyond Lhe city altogether.One gallery owner says few rich customers ever visit his shop in south London.He makes all his contacts at the booths he sets up at fairs,which might be twice the size of his store."It's a little like fishing,"he explains."You move to where the pike is."Kenny Schachter says thatA.gallery owners can make deals on the Internet.B.many art buyers are trom non-westerm countries now.C.the change of art markel has exerted pressure on him.D.dealers can make a great deal of money at the art fair.E.many people visiting galleries are not potential customers.F.rich Britons regularly pay a visit to the commercial galleries.G.very few art exhibitions were held al the end of the 20th century.
Text 4 Shortly after The Economist went to press,about 25,000 people were expected to rurn up at the London Art Fair.Your correspondent visited just before,as 128 white booths were being filled with modern paintings and sculptures.Dealers clutched mobile phones to their ears or gathered in small groups.They seemed nervous-as well they might be."I can eam a year's living in one fair,"said one harried dealer while stringing up a set oflights.Before 1999 London had just one regular contemporary art fair,remembers Will Ramsay,boss of the expanding Affordable Art Fair.This year around 20 will be held in Britain,mostly in the capitaL Roughly 90 will take place worldwide:The success of larger events such as Frieze,which started in London,has stimulated the growth of smaller fairs specialising in craft work,ceramics and other things.Art14,which started last year,specialises in less well-known intemational galleries,showing art from Sub-Saharan Africa,South Korea and Hong Kong.One explanation for the boom is the overall growth of the modern-art market.Four fifihs of all art sold at auction worldwide last year was from the 20th or 21st century,according to Artprice,a database.In November an auction in New York of modern and contemporary art made$691m（￡422m）,easily breaking the previous record.As older art becomes harder to buy-much ofit is locked up in museums-demand for recent works is rising.London's art market in particular has been boosted by an influx of rich immigrants from Russia,China and the Middle East."When I started 23 years ago I had not a single non-Western foreign buyer,"says Kenny Schachter,an art dealer."It's a different world now."And London's new rich buy arl differently.They ofien spend little time in the capital and do not know it well.Traipsing around individual galleries is inconvenient,particularly as galleries have moved out of central London.The mall-like set-up of a fair is much more suitable.Commercial galleries used to rely on regular visits from rich Britons seeking to fumish their stately homes.Many were family friends.The new art buyers have no such loyalty.People now visit galleries mainly to go to events and to be seen,says Alan Cristea,a gallery owner on Cork street in Mayfair.Fairs,and the parties that spring up around them,are much better places to be spotted.Some galleries are feeling squeezed.Bemard Jacobson runs a gallery opposite Mr Cristea.The changing art market reminds him ofwhen his father,a chemist,was eclipsed by Boots,a pharmaceutical chain,in the 1960s.Seven galleries in Cork Street relocated this month to make way for a redevelopment;five more may follow later this year.Yet the rise ofthe fairs means galleries no longer require prime real estate,thinks Sarah Monk of the London Art Fair.With an intemational clientele,many can work online or from home.Although some art fairs still require their exhibitors to have a gallery space,increasingly these are small places outside central London or beyond the city altogether.One gallery owner says few rich customers ever visit his shop in south London.He makes all his contacts at the booths he sets up at fairs,which might be twice the sizc of his store."It's a little like fishing:'he explains."You move to where the pike is."Which of the following is not true about art market according to Paragraphs 4 and 5?A.London's art market boosted favorite mainly from overseas.B.London's new rich often spend multiple times in the capital and do not know it.C.commercial galleries used to depend on regular from wealthy people.D.people in recent years visit galleries for events and parties.
Text 4 Shortly after The Economist went to press,about 25,000 people were expected to rurn up at the London Art Fair.Your correspondent visited just before,as 128 white booths were being filled with modern paintings and sculptures.Dealers clutched mobile phones to their ears or gathered in small groups.They seemed nervous-as well they might be."I can eam a year's living in one fair,"said one harried dealer while stringing up a set oflights.Before 1999 London had just one regular contemporary art fair,remembers Will Ramsay,boss of the expanding Affordable Art Fair.This year around 20 will be held in Britain,mostly in the capitaL Roughly 90 will take place worldwide:The success of larger events such as Frieze,which started in London,has stimulated the growth of smaller fairs specialising in craft work,ceramics and other things.Art14,which started last year,specialises in less well-known intemational galleries,showing art from Sub-Saharan Africa,South Korea and Hong Kong.One explanation for the boom is the overall growth of the modern-art market.Four fifihs of all art sold at auction worldwide last year was from the 20th or 21st century,according to Artprice,a database.In November an auction in New York of modern and contemporary art made$691m（￡422m）,easily breaking the previous record.As older art becomes harder to buy-much ofit is locked up in museums-demand for recent works is rising.London's art market in particular has been boosted by an influx of rich immigrants from Russia,China and the Middle East."When I started 23 years ago I had not a single non-Western foreign buyer,"says Kenny Schachter,an art dealer."It's a different world now."And London's new rich buy arl differently.They ofien spend little time in the capital and do not know it well.Traipsing around individual galleries is inconvenient,particularly as galleries have moved out of central London.The mall-like set-up of a fair is much more suitable.Commercial galleries used to rely on regular visits from rich Britons seeking to fumish their stately homes.Many were family friends.The new art buyers have no such loyalty.People now visit galleries mainly to go to events and to be seen,says Alan Cristea,a gallery owner on Cork street in Mayfair.Fairs,and the parties that spring up around them,are much better places to be spotted.Some galleries are feeling squeezed.Bemard Jacobson runs a gallery opposite Mr Cristea.The changing art market reminds him ofwhen his father,a chemist,was eclipsed by Boots,a pharmaceutical chain,in the 1960s.Seven galleries in Cork Street relocated this month to make way for a redevelopment;five more may follow later this year.Yet the rise ofthe fairs means galleries no longer require prime real estate,thinks Sarah Monk of the London Art Fair.With an intemational clientele,many can work online or from home.Although some art fairs still require their exhibitors to have a gallery space,increasingly these are small places outside central London or beyond the city altogether.One gallery owner says few rich customers ever visit his shop in south London.He makes all his contacts at the booths he sets up at fairs,which might be twice the sizc of his store."It's a little like fishing:'he explains."You move to where the pike is."According to the art dealers,after______,it will make their incomes increase.A.art movement in some groupsB.setting modem paintings and sculpturesC.holding an expoD.reporting an art fair through The Economist
Text 4 Shortly after The Economist went to press,about 25,000 people were expected to rurn up at the London Art Fair.Your correspondent visited just before,as 128 white booths were being filled with modern paintings and sculptures.Dealers clutched mobile phones to their ears or gathered in small groups.They seemed nervous-as well they might be."I can eam a year's living in one fair,"said one harried dealer while stringing up a set oflights.Before 1999 London had just one regular contemporary art fair,remembers Will Ramsay,boss of the expanding Affordable Art Fair.This year around 20 will be held in Britain,mostly in the capitaL Roughly 90 will take place worldwide:The success of larger events such as Frieze,which started in London,has stimulated the growth of smaller fairs specialising in craft work,ceramics and other things.Art14,which started last year,specialises in less well-known intemational galleries,showing art from Sub-Saharan Africa,South Korea and Hong Kong.One explanation for the boom is the overall growth of the modern-art market.Four fifihs of all art sold at auction worldwide last year was from the 20th or 21st century,according to Artprice,a database.In November an auction in New York of modern and contemporary art made$691m（￡422m）,easily breaking the previous record.As older art becomes harder to buy-much ofit is locked up in museums-demand for recent works is rising.London's art market in particular has been boosted by an influx of rich immigrants from Russia,China and the Middle East."When I started 23 years ago I had not a single non-Western foreign buyer,"says Kenny Schachter,an art dealer."It's a different world now."And London's new rich buy arl differently.They ofien spend little time in the capital and do not know it well.Traipsing around individual galleries is inconvenient,particularly as galleries have moved out of central London.The mall-like set-up of a fair is much more suitable.Commercial galleries used to rely on regular visits from rich Britons seeking to fumish their stately homes.Many were family friends.The new art buyers have no such loyalty.People now visit galleries mainly to go to events and to be seen,says Alan Cristea,a gallery owner on Cork street in Mayfair.Fairs,and the parties that spring up around them,are much better places to be spotted.Some galleries are feeling squeezed.Bemard Jacobson runs a gallery opposite Mr Cristea.The changing art market reminds him ofwhen his father,a chemist,was eclipsed by Boots,a pharmaceutical chain,in the 1960s.Seven galleries in Cork Street relocated this month to make way for a redevelopment;five more may follow later this year.Yet the rise ofthe fairs means galleries no longer require prime real estate,thinks Sarah Monk of the London Art Fair.With an intemational clientele,many can work online or from home.Although some art fairs still require their exhibitors to have a gallery space,increasingly these are small places outside central London or beyond the city altogether.One gallery owner says few rich customers ever visit his shop in south London.He makes all his contacts at the booths he sets up at fairs,which might be twice the sizc of his store."It's a little like fishing:'he explains."You move to where the pike is."The sentence"You move to where the pike is"（Para.6）meansA.fairs would be the most flexible way to exhibit artworkB.there will be more rich collectors return to the galleriesC.the size of galleries would be twice than the fairs on the websiteD.more galleries will move to the golden place
Text 4 Shortly after The Economist went to press,about 25,000 people were expected to rurn up at the London Art Fair.Your correspondent visited just before,as 128 white booths were being filled with modern paintings and sculptures.Dealers clutched mobile phones to their ears or gathered in small groups.They seemed nervous-as well they might be."I can eam a year's living in one fair,"said one harried dealer while stringing up a set oflights.Before 1999 London had just one regular contemporary art fair,remembers Will Ramsay,boss of the expanding Affordable Art Fair.This year around 20 will be held in Britain,mostly in the capitaL Roughly 90 will take place worldwide:The success of larger events such as Frieze,which started in London,has stimulated the growth of smaller fairs specialising in craft work,ceramics and other things.Art14,which started last year,specialises in less well-known intemational galleries,showing art from Sub-Saharan Africa,South Korea and Hong Kong.One explanation for the boom is the overall growth of the modern-art market.Four fifihs of all art sold at auction worldwide last year was from the 20th or 21st century,according to Artprice,a database.In November an auction in New York of modern and contemporary art made$691m（￡422m）,easily breaking the previous record.As older art becomes harder to buy-much ofit is locked up in museums-demand for recent works is rising.London's art market in particular has been boosted by an influx of rich immigrants from Russia,China and the Middle East."When I started 23 years ago I had not a single non-Western foreign buyer,"says Kenny Schachter,an art dealer."It's a different world now."And London's new rich buy arl differently.They ofien spend little time in the capital and do not know it well.Traipsing around individual galleries is inconvenient,particularly as galleries have moved out of central London.The mall-like set-up of a fair is much more suitable.Commercial galleries used to rely on regular visits from rich Britons seeking to fumish their stately homes.Many were family friends.The new art buyers have no such loyalty.People now visit galleries mainly to go to events and to be seen,says Alan Cristea,a gallery owner on Cork street in Mayfair.Fairs,and the parties that spring up around them,are much better places to be spotted.Some galleries are feeling squeezed.Bemard Jacobson runs a gallery opposite Mr Cristea.The changing art market reminds him ofwhen his father,a chemist,was eclipsed by Boots,a pharmaceutical chain,in the 1960s.Seven galleries in Cork Street relocated this month to make way for a redevelopment;five more may follow later this year.Yet the rise ofthe fairs means galleries no longer require prime real estate,thinks Sarah Monk of the London Art Fair.With an intemational clientele,many can work online or from home.Although some art fairs still require their exhibitors to have a gallery space,increasingly these are small places outside central London or beyond the city altogether.One gallery owner says few rich customers ever visit his shop in south London.He makes all his contacts at the booths he sets up at fairs,which might be twice the sizc of his store."It's a little like fishing:'he explains."You move to where the pike is."Art fairs are expanding prosperously in that______.A.the cost ofholding an art fair becomes affordableB.cross-trade galleries take place worldwideC.contemporary art market is growing faster than beforeD.the rapid growth of the modern art market is mainly in developing countries
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问答题Expressionism Expressionism is an art movement that produced a wealth of wonderful works of art, and the lives of the artists who created them were no less colorful and exciting. The word expressionism can be used to describe art from different times and places, most of them were part of a movement that took place in Germany from 1905 to 1920. They shared some of the beliefs. Those beliefs were that art should try to change society, to make it less conservative. It should express the energy of nature—following in the footsteps of Vincent van Gogh—-and personal feeling rather than simply representing nature. It should feel uncomfortable, which means it should challenge the traditional ways of looking at the world. This differed from the opinion of Henri Matisse who believed that art should be comfortable. Expressionist art should be inspired by folk art, and the art of what were then called primitive people, for example from Africa. The aim of the Expressionists was to express personal feeling about what they were painting rather than representing it exactly as it was. It should have strong colors and shapes, be relatively direct, untutored and unplanned and should still contain recognizable things, but not be realistic. The lines could be distorted, and the colors could be strengthened or changed as in the art movement that began in 1905 called Fauvism. Expressionism was more than a style in painting. It could be found in theatre and cinema, literature and architecture. It was a sharing of ideas and experiences across all these media. The life stories of the Expressionist artists show just how much they had in common. Many began by studying applied art, such as furniture design, often to please their parents. Although they later made more personal art, they continued to make use of those technical skills. Both art critics and the public received this new movement with derision and outrage. Expressionist artists were trying to shock by challenging the traditional, conservative views held by many people. Gradually, however, it became accepted and even admired. All the Expressionists were affected by World War I (1914-18). Some fled from Germany and spent the war years in exile. Some never returned to their homeland. Most served in the war and some were killed. At first some of them hoped a war would change society for the better but they were soon disillusioned when they saw the destruction and suffering that it caused. In the years after the war, many Expressionist artist revealed the horrors they experienced in their work. After World War I, Expressionism became very fashionable in Germany, where art was allowed to flourish. This freedom ended in 1933 when Hitler declared all Expressionists were degenerate. This led to them being sacked from their jobs or forced to leave Germany. In 1937 the Nazis took thousands of art works from German museums and put them in an enormous exhibition called the Degenerate Art Exhibition, to show how bad and decadent this art was. It presented a view of the world that went against their political and cultural ambitions to rid Germany of all inferior races.
单选题The village leader thinks _____.Athey should destroy the templeBthey needn’t build new housesCThey should build the temple to make life betterDthey should not only build new houses but also be careful with the temple
单选题After a lot of work, the artist thought that he had paid the government _____.Aless tax than he should haveBmore tax than he should haveCas much tax as usualDjust enough tax
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单选题It is not feasible to build sea defenses to protect against erosion because _____.Ait is too costly and will endanger neighbouring areasBthe government is too slow in taking actionCthey will be easily knocked down by waves and currentsDhouse agents along the coast do not support the idea
单选题Passage1The medical world is gradually realizing that the quality of the environment in hospitals may play a significant role in the process of recovery from illness.As part of a nationwide effort in Britain to bring art out of the galleries and into public places，some of the country's most talented artists have been called in to transform older hospitals and to soften the hard edges of modern buildings. Of the 2，500 National Health Service hospitals in Britain，almost 100 now have significant collections of contemporary art in corridors，waiting areas and treatment rooms.These recent initiatives owe a great deal to one artist，Peter Senior，who set up his studio at a Manchester hospital in northeastern England during the early 1970s.He felt the artist had lost his place in modern society，and that art should be enjoyed by a wider audience.A typical hospital waiting room might have as many as 500 visitors each week. What better place to hold regular exhibitions of art？Senior held the first exhibition of his own paintings in the out-patients waiting area of the Manchester Royal Hospital in 1975.Believed to be Britain's first hospital artist, Senior was so much in demand that he was soon joined by a team of six young art school graduates.The effect is striking. Now in the corridors and waiting rooms the visitor experiences a full view of fresh colors, playful images and restful courtyards.The quality of the environment may reduce the need for expensive drugs when a patient is recovering from an illness. A study has shown that patients who had a view onto a garden needed half the number of strong pain killers compared with patients who had no view at all or only a brick wall to look at.According to Peter Senior, _______.Aart is losing its audience in modern societyBart galleries should be changed into hospitalsCpatients should be encouraged to learn paintingDart should be encouraged in British hospitals
单选题The statement that “the people own the air” implies that _____.Acitizens have the right to insist on worthwhile television programsBtelevision should be socialized to cater to the nation’s whimsCthe government may build above present structuresDthe people own nothing, for air is worthless
单选题According to the talk, for what is the Glasgow School of Art famous?AIts educational faculty.BIts collection of art works.CIts architectural design.DIts museums and art galleries.