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  3. Emerging in the late Sixties and reaching a peak in the Seventies, Land Art was one of a range of new forms, including Body Art,

Emerging in the late Sixties and reaching a peak in the Seventies, Land Art was one of a range of new forms, including Body Art,

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问题     Emerging in the late Sixties and reaching a peak in the Seventies, Land Art was one of a range of new forms, including Body Art, Performance Art, Action Art and Installation Art, which pushed art beyond the traditional confines of the studio and gallery. Rather than portraying landscape, land artists used the physical substance of the land itself as their medium.
    The British land art, typified by Richard Long’s piece, was not only more domestically scaled, but a lot quirkier than its American counterpart. Indeed, while you might assume that an exhibition of Land Art would consist only of records of works rather than the works themselves, Long’s photograph of his work is the work. Since his "action" is in the past the photograph is its sole embodiment.
    That might seem rather an obscure point, but it sets the tone for an exhibition that contains a lot of black-and-white photographs and relatively few natural objects.
    Long is Britain’s best-known Land Artist and his Stone Circle, a perfect ring of purplish rocks from Portishead beach laid out on the gallery floor, represents the elegant, rarefied side of the form. The Boyle Family, on the other hand, stand for its dirty, urban aspect. Comprising artists Mark Boyle and Joan Hills and their children, they recreated random sections of the British landscape on gallery walls. Their Olaf Street Study, a square of brick-strewn waste ground, is one of the few works here to embrace the commonplaceness that characterises most of our experience of the landscape most of the time.
    Parks feature, particularly in the earlier works, such as John Hilliard’s very funny Across the Park, in which a long-haired stroller is variously smiled at by a pretty girl and unwittingly assaulted in a sequence of images that turn out to be different parts of the same photograph.
    Generally however British land artists preferred to get away from towns, gravitating towards landscapes that are traditionally considered beautiful such as the Lake District or the Wiltshire Downs. While it probably wasn’t apparent at the time, much of this work is permeated by a spirit of romantic escapism that the likes of Wordsworth would have readily understood. Derek Jarman’s yellow-tinted film Towards Avebury, a collection of long, mostly still shots of the Wiltshire landscape, evokes a tradition of English landscape painting stretching from Samuel Palmer to Paul Nash.
    In the case of Hamish Fulton, you can’t help feeling that the Scottish artist has simply found a way of making his love of walking pay. A typical work, such as Seven Days, consists of a single beautiful black-and-white photograph taken on an epic walk, with the mileage and number of days taken listed beneath. British Land Art as shown in this well selected, but relatively modestly scaled exhibition wasn’t about imposing on the landscape, more a kind of landscape-orientated light conceptual art created passing through. It had its origins in the great outdoors, but the results were as gallery-bound as the paintings of Turner and Constable.
    [A] originates from a long walk that the artist took.
    [B] illustrates a kind of landscape-orientated light conceptual art.
    [C] reminds people of the English landscape painting tradition.
    [D] represents the elegance of the British land art.
    [E] depicts the ordinary side of the British land art.
    [F] embodies a romantic escape into the Scottish outdoors.
    [G] contains images from different parts of the same photograph.
Olaf Street Study
选项
答案E
解析 复现结构+无关词排除法。本题左栏中的信息是一个作品名称：OlafStreet Study，考生以这个名词作为线索回归原文定位，发现只有在文章的第四段中出现了这个名称，即Comprising artists Mark Boyle and Joan Hills and their children, they recreated random sections of the British landscape on gallery walls. Their Olaf Street Study, a square of brick-strewn waste ground, is one of the few works here to embrace the commonplaceness that characterises most of our experience of the landscape most of the time. 在OlafStreet Study之后出现的a square of brick-strewn waste ground是一个插入语，之后句子中出现的信息为is one of the few works here to embrace the commonplaceness that characterises most of our experience of the landscape most of the time，这个句子就是以OlafStreet Study为主语的，也是对OlafStreet Study的详细描述。这里出现了一个核心词汇commonplaceness，作者使用定语从句做了解释，即that characterises most of our experience of the landscape most of the time (塑造了我们大部分时间里对风景的主要体验感受)。利用这些原文关键线索去对比剩余的待选项，发现本题有一定的难度，因为选项中似乎没有直接与原文存在复现词汇的，此时可以使用无关词排除法，即定位各个选项中的核心主题词，如果这些主题词与定位的原文主题信息无关，就肯定不是本题答案，具体如下：A项的核心信息是“originates”(起源)，还有很具体的信息“long walk”(长途行走)。这些信息肯定与本题对应的原文信息无关，予以排除。C项的核心信息是English landscape painting tradition，这与本题对应的原文信息主题无关，予以排除。F项的核心信息提及romantic escape和Scottish outdoors，这些概念在本题对应的原文信息中没有涉及，予以排除。G项的核心信息提及了the same photograph，而本题对应的原文信息并没有涉及photograph，予以排除。至此，本题答案只能在B项illustrates a kind of landscape—orientated light conceptual art和 E项depicts the ordinary side of the British land art之间进行选择。如果考生认识commonplaceness这个核心词汇，就知道此词的意思是“尘俗，普通，平常”的概念。这与选项E中的“the ordinary side of the British land art”是同样的意思。就算考生不认识commonplaceness，根据其后的定语从句“that characterises most of our experience of the landscape most of the time”(塑造了我们大部分时间里对风景的主要体验感受)，大部分时间的主要感受应该就是普通平常的感受，与两个选项的信息比对，就能判断出与选项[E]相近的可能性更大，所以本题答案为选项E。
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