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The cities in the United States have been the most visible sponsors and beneficiaries of projects that place art in public places. They have shown exceptional imagination in applying the diverse forms of contemporary art to a wide variety of purposes. The activities observed in a number of “pioneer” cities sponsoring art in public places—a broadening exploration of public sites, an increasing awareness among both sponsors and the public of the varieties of contemporary artistic practice, and a growing public enthusiasm—are increasingly characteristic of cities across the country. With many cities now undergoing renewed development, opportunities are continuously emerging for the inclusion or art in new or renewed public environments, including buildings, plazas, parks, and transportation facilities. The result of these activities is a group of artworks that reflect the diversity of contemporary art and the varying character and goals of the sponsoring communities.
In sculpture, the projects range from a cartoonlike Mermaid in Miami Beach by Roy Lichtenstein to a small forest planted in New York City by Alan Sonfist. The use of murals followed quickly upon the use of sculpture and has brought to public sites the work of artists as different as the realist Thomas Hart Benton and the Pop artist Robert Rauschenberg. The specialized requirements of particular urban situations have further expanded the use of art in public places: in Memphis, sculptor Richard Hunt has created a monument to Martin Luther King, Jr., who was slain there; in New York, Dan Flavin and Bill Brand have contributed neon and animation works to the enhancement of mass transit facilities. And in numerous cities, art is being raised as a symbol of the commitment to revitalize urban areas.
By continuing to sponsor projects involving a growing body of art in public places, cities will certainly enlarge the situations in which the public encounters and grows familiar with the various forms of contemporary art. Indeed, cities are providing artists with an opportunity to communicate with a new and broader audience. Artists are recognizing the distinction between public and private spaces, and taking that into account when executing their public commissions. They are working in new, often more durable media, and on an unaccustomed scale.
1. What is the passage mainly about?
A. The influence of art on urban architecture in United States cities
B. The growth of public art in United States cities.
C. The increase in public appreciation of art in the United States
D. The differences between public art in Europe and the United States.
2. All of the following are mentioned in paragraph 1 as results of the trend toward installing contemporary art in public places in the United States EXCEPT________.
A. the transfer of artwork from private to public sites B. artworks that represent a city’s special character
C. greater interest in art by the American public
D. a broader understanding of the varieties of contemporary art
3. According to the passage, new settings for public art are appearing as a result of ________.
A. communities that are building more art museums B. artists who are moving to urban areas
C. urban development and renewal D. an increase in the number of artists in the United States.
4. The author mentions Roy Lichtenstein and Alan Sonfist in line 12 in order to________.
A. show that certain artist are famous mostly for their public art
B. introduce the subject of unusual works of art
C. demonstrate the diversity of artworks displayed in public
D. contrast the cities of Miami Beach and New York
5. It can be inferred from the passage that the city of Memphis sponsored a work by Richard Hunt because the city authorities believed that ________.
A. the sculpture would symbolize the urban renewal of Memphis
B. Memphis was an appropriate place for a memorial to Martin Luther Ling, Jr.
C. the artwork would promote Memphis as a center for the arts
D. the sculpture would provide a positive example to other artists.
6. The word “enhancement” in line 17 is closest in meaning to ________.
A. replacementB. designC. improvementD. decoration
7. The word “revitalize” in line 18 is closest in meaning to ________.
A. show the importance of
B. promise to enlarge
C. bring new life to
D. provide artworks for
8. The word “that” in line 22 refers to ________.
A. contemporary art
B. opportunity
C. audience
D. distinction
9. The word “executing” in line 22 is closest in meaning to ________.
A. judgingB. sellingC. explainingD. producing
10. According to paragraph 3, artists who work on public art projects are doing all of the following EXCEPT ________.
A. creating artworks that are unusual in size
B. raising funds to sponsor various public projects
C. exposing a large number of people to works of art
D. using new materials that are long—lasting.
 
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jehinguyen

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Bạn tham khảo đáp án và gợi ý dẫn chứng nhé ạ:

The cities in the United States have been the most visible sponsors and beneficiaries of projects that place art in public places. They have shown exceptional imagination in applying the diverse forms of contemporary art to a wide variety of purposes. The activities observed in a number of “pioneer” cities sponsoring art in public places—a broadening exploration of public sites, an increasing awareness among both sponsors and the public of the varieties of contemporary artistic practice (2D), and a growing public enthusiasm—are increasingly characteristic of cities across the country (2C). With many cities now undergoing renewed development, opportunities are continuously emerging for the inclusion or art in new or renewed public environments (3), including buildings, plazas, parks, and transportation facilities. The result of these activities is a group of artworks that reflect the diversity of contemporary art and the varying character and goals of the sponsoring communities (2B).
In sculpture, the projects range from: trải dài từ a cartoonlike Mermaid in Miami Beach by Roy Lichtenstein to a small forest planted in New York City by Alan Sonfist (4) The use of murals followed quickly upon the use of sculpture and has brought to public sites the work of artists as different as the realist Thomas Hart Benton and the Pop artist Robert Rauschenberg. The specialized requirements of particular urban situations have further expanded the use of art in public places: in Memphis, sculptor Richard Hunt has created a monument = memorial to Martin Luther King, Jr., who was slain there (5); in New York, Dan Flavin and Bill Brand have contributed neon and animation works to the enhancement of mass transit facilities. And in numerous cities, art is being raised as a symbol of the commitment to revitalize urban areas.
By continuing to sponsor projects involving a growing body of art in public places, cities will certainly enlarge the situations in which the public encounters and grows familiar with the various forms of contemporary art. Indeed, cities are providing artists with an opportunity to communicate with a new and broader audience (10C). Artists are recognizing the distinction between public and private spaces, and taking that into account when executing their public commissions. They are working in new, often more durable media (10D), and on an unaccustomed scale (10A).
1. What is the passage mainly about?
A. The influence of art on urban architecture in United States cities
B. The growth of public art in United States cities.
C. The increase in public appreciation of art in the United States
D. The differences between public art in Europe and the United States.
2. All of the following are mentioned in paragraph 1 as results of the trend toward installing contemporary art in public places in the United States EXCEPT________.
A. the transfer of artwork from private to public sites B. artworks that represent a city’s special character
C. greater interest in art by the American public
D. a broader understanding of the varieties of contemporary art
3. According to the passage, new settings for public art are appearing as a result of ________.
A. communities that are building more art museums B. artists who are moving to urban areas
C. urban development and renewal D. an increase in the number of artists in the United States.
4. The author mentions Roy Lichtenstein and Alan Sonfist in line 12 in order to________.
A. show that certain artist are famous mostly for their public art
B. introduce the subject of unusual works of art
C. demonstrate the diversity of artworks displayed in public
D. contrast the cities of Miami Beach and New York
5. It can be inferred from the passage that the city of Memphis sponsored a work by Richard Hunt because the city authorities believed that ________.
A. the sculpture would symbolize the urban renewal of Memphis
B. Memphis was an appropriate place for a memorial to Martin Luther Ling, Jr.
C. the artwork would promote Memphis as a center for the arts
D. the sculpture would provide a positive example to other artists.
6. The word “enhancement” in line 17 is closest in meaning to ________.
A. replacementB. designC. improvement: cải thiện D. decoration
7. The word “revitalize” in line 18 is closest in meaning to ________.
A. show the importance of
B. promise to enlarge
C. bring new life to: làm sống lại, tái phục hưng
D. provide artworks for
8. The word “that” in line 22 refers to ________.
A. contemporary art
B. opportunity
C. audience
D. distinction
9. The word “executing” in line 22 is closest in meaning to ________.

A. judgingB. sellingC. explainingD. producing: thi hành sản xuất
10. According to paragraph 3, artists who work on public art projects are doing all of the following EXCEPT ________.

A. creating artworks that are unusual in size
B. raising funds to sponsor various public projects
C. exposing a large number of people to works of art
D. using new materials that are long—lasting

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