| a. To define and promote a collective artistic approach | ||
| b. To define and preserve a plurality of artistic practices | ||
| c. To define and promote an artistic practice based on diversity | ||
| d. To define and preserve the purity of an artistic medium |
| a. Formalist art critic | ||
| b. Post-modernist writer on art | ||
| c. Neo-expressionist artist | ||
| d. Conceptual photographer |
| a. Formal qualities of her pictorial language | ||
| b. Narrative components of her artistic practice | ||
| c. The way the artist used quotations from mass media | ||
| d. Bold uses of technology and various media in her work |
| a. Pictorial and formal purity | ||
| b. Pictorial and formal diversity | ||
| c. Extensive use of pictorial quotations | ||
| d. Extensive use of narrative quotations |
| a. Importance of sculpture | ||
| b. Importance of social context | ||
| c. Purity of medium | ||
| d. All of the above |
| a. Yet another step in development of abstract art | ||
| b. Final stage in progression of art's self-criticality and reduction | ||
| c. Important transition from art of time to art of space | ||
| d. All of the above |
| a. Photographs made in pictorial mode | ||
| b. Sculptures made in relief | ||
| c. Figurative painting | ||
| d. Formalist painting |
| a. Autonomy of modernism | ||
| b. Dependence of modernism on literature and fiction | ||
| c. Historical context of modernism | ||
| d. Popular understanding of modernism |
| a. It was used as a means of fostering a dialogue. | ||
| b. It was used as an educational device. | ||
| c. It was used as a propaganda tool. | ||
| d. It was acknowledged as a means to experience the global diversity. |
| a. Ambroise Vollard | ||
| b. Berheim Jeune | ||
| c. Daniel-Henry Kahnweiler | ||
| d. Leo Castelli |
| a. They felt that the art market was limiting creativity by imposing and promoting one single (modernist) model of art. | ||
| b. They felt that the art market helped promote diversity and different approaches to art. | ||
| c. They felt that the art market was opening new possibilities for a dialogue among artists in the United States. | ||
| d. They felt that the art market contributed to a global exchange of ideas and artworks. |
| a. Clement Greenberg, the art market, and mass media | ||
| b. Clement Greenberg, the Museum of Modern Art, and the art market | ||
| c. The Museum of Modern Art, the art market, and Leo Castelli | ||
| d. The art market, mass media, and the gallery system |
| a. It was perceived to embody the power of freedom of choice. | ||
| b. It was perceived to illustrate the advance of technology. | ||
| c. It was taken to mean the importance of a global collaborative spirit. | ||
| d. It was taken to be relevant for improving artistic skills globally. |
| a. It illustrated well the increasing role of mass media. | ||
| b. It fully embodied a self-critical development of Western art. | ||
| c. It explained fully the importance and role of narration in visual arts. | ||
| d. It documented well the presence of technology. |
| a. Historical and contextual awareness | ||
| b. Autonomy and purity of each specific artistic medium | ||
| c. Presence and traces of mass media and contemporary technology | ||
| d. Mixed media |
| a. Lack of historicity | ||
| b. Lack of autonomy | ||
| c. Overexposure to historicity | ||
| d. Overexposure to autonomy |
| a. Capitalism | ||
| b. Socialism | ||
| c. Consumerism | ||
| d. All of the above |
| a. Postmodernist definition of art | ||
| b. Formalist definition of art | ||
| c. Pictorial photographs | ||
| d. All of the above |
| a. Aimless strolling | ||
| b. Calculated examination | ||
| c. Purposeful investigation | ||
| d. Ironical parody |
| a. Dominance of the art market | ||
| b. Dominance of bureaucracy | ||
| c. Dominance of the mass media | ||
| d. All of the above |
| a. To set up a precedent in the History of Modern Art | ||
| b. To examine a relationship between East and West | ||
| c. To propose a different way to think about contemporary art | ||
| d. To test the limits of participation |
| a. People gathering together in the gallery or museum | ||
| b. Art students exploring social issues in history of art | ||
| c. People working together toward one common goal | ||
| d. Society examining art history's past and future |
| a. Emphasizing the importance of art in everyday culture | ||
| b. Using everyday activities and practices to make audience aware of social underpinnings | ||
| c. Critique of relationship between art and life | ||
| d. All of the above |
| a. Lack of individual commitment | ||
| b. Lack of collective action | ||
| c. Absence of environmental awareness | ||
| d. Absence of guided action |
| a. To subvert and misinterpret the mass media | ||
| b. To subvert and misinterpret the fine arts | ||
| c. To subvert and misinterpret the classical literature | ||
| d. All of the above |
| a. Perishable and ephemeral work of art | ||
| b. Work with no monetary value | ||
| c. Artwork disregarding artistic convention | ||
| d. All of the above |
| a. In Italy; focus on simple, elementary art gestures | ||
| b. In France; focus on simple, elementary art gestures | ||
| c. In the USA; focus on anti-war protest | ||
| d. In Germany; focus on simple art gestures |
| a. His work was conceived as a way to raise public consciousness about social issues. | ||
| b. His work was conceived to help transition between society and a museum's gallery space. | ||
| c. His work was conceived as a comment on lack of sculptures in society. | ||
| d. All of the above |
| a. Because it puts an emphasis on ideas and concepts and steers away from the art market | ||
| b. Because it avoids ideas and concepts and steers away from the art market | ||
| c. Because it puts an emphasis on ideas and materials and steers away from the art market | ||
| d. Because it avoids materials and concepts and steers away from the art market |
| a. Because she offered a new way to assess Modernism | ||
| b. Because she offered a reappraisal of painting and sculpture | ||
| c. Because she was not interested in globalization | ||
| d. Because she advocated participatory art |
| a. Narrative | ||
| b. Autonomy | ||
| c. Mixed Media | ||
| d. Illusionism |
| a. Creation of stereotypes | ||
| b. Reductive selection of media and artistic genres | ||
| c. Marginalization and exclusion of women artists | ||
| d. All of the above |
| a. Because it was cheaper | ||
| b. Because it offered an opportunity for a collective work | ||
| c. All of the above | ||
| d. None of the above |
| a. Performance | ||
| b. Happening | ||
| c. Action art | ||
| d. Conceptual art |
| a. Absence of women artists both from history and contemporary scene | ||
| b. Increasing presence of technology | ||
| c. Importance of art in education | ||
| d. All of the above |
| a. Because Modernist canon was conceived by white, European man | ||
| b. Because they felt that various media were undeservedly ignored | ||
| c. Because they felt that the mass media and popular culture were absent | ||
| d. Because Modernist canon didn't allow for representation of patriarchy |
| a. Motherhood | ||
| b. Sisterhood | ||
| c. Adolescence | ||
| d. All of the above |
| a. Direct exchange between artist and audience | ||
| b. Mediation between art, artist and audience | ||
| c. All of the above | ||
| d. None of the above |
| a. His use of mixed media | ||
| b. His incorporation of mass media | ||
| c. His exploration of popular culture | ||
| d. His incorporation of subconscious |
| a. Creating a new niche in the art market | ||
| b. Opening a new possibility for inclusion of mass media and popular culture | ||
| c. Creating a new way of thinking about the role and function of art in society | ||
| d. All of the above |
| a. Judy Chicago | ||
| b. Martha Rosler | ||
| c. Louise Bourgeois | ||
| d. Ana Menidieta |
| a. Mixed media | ||
| b. Participation | ||
| c. Artist's body | ||
| d. All of the above |
| a. Ready-made | ||
| b. Installation | ||
| c. Performance | ||
| d. Sculpture |
| a. Judy Chicago | ||
| b. Chris Burden | ||
| c. Vito Acconci | ||
| d. Ana Mendieta |
| a. They did so because they were aware that culture creates and reproduces gender stereotypes. | ||
| b. They did so because they were aware that culture is most efficient when it operates on subconscious level. | ||
| c. All of the above | ||
| d. None of the above |
| a. Performance and photography | ||
| b. Performance and painting | ||
| c. Painting and sculpture | ||
| d. Sculpture and performance |
| a. Historically | ||
| b. Rhetorically | ||
| c. Critically | ||
| d. Objectively |
| a. Levine focused on issues of authenticity and originality as a sign of patriarchal dominance. | ||
| b. Levine focused on commercial and technological issues as a sign of spectacularization. | ||
| c. Levine focused on technocracy and bureaucracy as a sign of an increasing alienation. | ||
| d. All of the above |
| a. Advertisement in magazines | ||
| b. TV Commercials | ||
| c. Shopping Malls | ||
| d. Commercial Billboards |
| a. Made the public appreciate abstract painting | ||
| b. Made the public appreciate realist painting | ||
| c. Made the public rethink the social implications of the dichotomy realism/abstraction | ||
| d. Made the public aware of the absence of abstract painting |
| a. European history | ||
| b. German history | ||
| c. Non-Western history | ||
| d. All of the above |
| a. It underscored gender roles in patriarchal culture. | ||
| b. It made obvious gap between audience and artist. | ||
| c. It created a sense of uneasiness amongst the public. | ||
| d. None of the above |
| a. Formalist art as popularized by art press | ||
| b. De-materialized art | ||
| c. Modernist art and sculpture | ||
| d. Gender stereotypes as popularized by mass media |
| a. Historical expressionism | ||
| b. Individual expressions | ||
| c. Public expressions and expectations | ||
| d. Collective beliefs and expressions |
| a. Museum practices | ||
| b. Art critical practices | ||
| c. Public culture | ||
| d. Technology and mass media |
| a. To call attention to issue of originality and reproduction | ||
| b. To underscore representation of race in contemporary art and culture | ||
| c. To examine the importance of mass culture | ||
| d. All of the above |
| a. As a comment on contemporary art scene | ||
| b. As a comment on consumerism | ||
| c. As a comment on global warming | ||
| d. As a comment on postmodernist rhetoric |
| a. It seemed to offer a solution to an increasing commercialization of art. | ||
| b. It seemed to address a misrepresentation of non-Western artists. | ||
| c. It seemed to offer new critical tools for rethinking artistic practice. | ||
| d. All of the above |
| a. The end of the European dominance in culture and politics | ||
| b. The end of Western colonial policies | ||
| c. The end of globalization | ||
| d. All of the above |
| a. Temporality | ||
| b. Luminosity | ||
| c. Participation | ||
| d. All of the above |
| a. Ruin the Federal Plaza | ||
| b. Destroy the view | ||
| c. Create a public outrage | ||
| d. Destroy the work |
| a. Classical | ||
| b. Contemporary | ||
| c. Modern | ||
| d. Romantic |
| a. By exploring his collections and working with curators | ||
| b. By misplacing the labels to draw attention to historical and cultural inconsistencies | ||
| c. By exhibiting pieces from the storage that were marginalized, displaced as a commentary on cultural marginalization | ||
| d. All of the above |
| a. Performance | ||
| b. Sculpture | ||
| c. Painting | ||
| d. Mixed Media |
| a. Cultural marginalization | ||
| b. Political isolation | ||
| c. Racial exclusion | ||
| d. All of the above |
| a. Artists' critique of museum and museological practices | ||
| b. Artists' critique of public sphere | ||
| c. Artists critique of art education and art institutions | ||
| d. All of the above |
| a. T-shirts, LED boards, stickers | ||
| b. T-shirts, magazines, billboards | ||
| c. T-shirts, stickers, magazines | ||
| d. All of the above |
| a. Site-specific | ||
| b. Installation | ||
| c. Exposing corporate influence | ||
| d. All of the above |
| a. Because he already worked for different plazas in NYC | ||
| b. Because his work is site-specific | ||
| c. Because his work is multi-media | ||
| d. Because he did similar work in Europe |
| a. Isolation and marginalization of disabled people | ||
| b. Isolation and marginalization of disenchanted people | ||
| c. Isolation and marginalization of homeless people | ||
| d. Isolation and marginalization of old people |
| a. Tropism | ||
| b. Truism | ||
| c. Futurism | ||
| d. Minimalism |
| a. Artists felt that their work was threatened. | ||
| b. The public felt that artists were having too much liberty. | ||
| c. Artists felt that their lives were threatened. | ||
| d. The public felt that artists were irresponsible. |
| a. Photographs | ||
| b. Ready-made objects | ||
| c. All of the above | ||
| d. None of the above |
| a. Painting and sculpture | ||
| b. Artist's body | ||
| c. Printed media | ||
| d. Mixed media |
| a. Observer's body | ||
| b. Artist's body | ||
| c. Social disintegration | ||
| d. None of the above |
| a. Technology | ||
| b. Mass media | ||
| c. Art | ||
| d. Durableness |
| a. Post-modern identity politics | ||
| b. Post-colonial identity politics | ||
| c. Post-feminist identity politics | ||
| d. Post-gender identity politics |
| a. It transformed the viewer's perception of artistic practice. | ||
| b. It transformed the way to install art. | ||
| c. None of the above | ||
| d. Both A and B |
| a. Technology | ||
| b. Mass media | ||
| c. Racial positioning | ||
| d. Gender issues and women sexuality |
| a. Racial tensions that participate in identity formation | ||
| b. Social tension that participate in identity formation | ||
| c. Gender tensions that participate in identity formation | ||
| d. All of the above |
| a. Fetishization of audience | ||
| b. Fetishization of gallery space | ||
| c. Commodification of art | ||
| d. All of the above |
| a. Kiki Smith | ||
| b. Robert Gober | ||
| c. Glenn Ligon | ||
| d. Mike Kelley |
| a. An insight into cultural oppression | ||
| b. An insight into cultural construction | ||
| c. An insight into societal relativism | ||
| d. All of the above |
| a. Environment | ||
| b. Set-up | ||
| c. Display | ||
| d. Mise-en-scene |
| a. It made their work more accessible to general audiences. | ||
| b. It made their work readily available for mass-media. | ||
| c. It made the art market more aware of young artists. | ||
| d. It made the audience more responsive in a gallery/museum setting. |
| a. Urban experience | ||
| b. Political experience | ||
| c. Personal experience | ||
| d. Collective experience |
| a. 'De-imperializing' the institutional mind | ||
| b. Initiating a wave of neo-imperial exploration of 'exotic' | ||
| c. All of the above | ||
| d. None of the above |
| a. Increasing importance of art markets and commercialization | ||
| b. Increasing presence of contemporary non-Western art and at the same time, dissolution of single, dominant art centers | ||
| c. Increasing number of Biennial and other spectacular exhibitions across the globe | ||
| d. All of the above |
| a. Starbucks coffee shops | ||
| b. Shopping Malls | ||
| c. All of the above | ||
| d. None of the above |
| a. Political segregation | ||
| b. Economic, social, and cultural borders | ||
| c. Racial segregation | ||
| d. All of the above |
| a. Exposition communal, dominant social ills with a help of parody and humor | ||
| b. Exploration of art and artistic institutions | ||
| c. Examination of Modernist orthodoxies | ||
| d. All of the above |
| a. To resist and critique consumerism | ||
| b. To draw attention to an increasing power of corporations | ||
| c. To preserve and nurture difference (racial, sexual, and gender) | ||
| d. All of the above |
| a. Economic and social tensions | ||
| b. Precariousness of race discourse | ||
| c. All of the above | ||
| d. None of the above |
| a. Painting and drawing | ||
| b. Familiar, everyday objects, like a shoebox for example | ||
| c. Film and mass media | ||
| d. All of the above |
| a. Parody and impersonation | ||
| b. Allegory and metaphor | ||
| c. Metonymy and personification | ||
| d. All of the above |
| a. Lack of correct representation of Middle-East art and artistic practices | ||
| b. Lack of critical appreciation for German art | ||
| c. Lack of understanding of Caribbean art | ||
| d. All of the above |
| a. The way they approach social reality and define the audience | ||
| b. The way they use different media in their performances | ||
| c. The way they work in the gallery or museum space. | ||
| d. All of the above |
| a. It invites the audience to be more responsive and pay attention to a detail. | ||
| b. It makes the audience more confident in its understanding of contemporary art. | ||
| c. It creates tension between the museum and public. | ||
| d. It contributes to a more balanced dialogue between artist and museum. |
| a. Because the position of consumption in society is not clearly delineated | ||
| b. Because it is difficult to address such an issue differently | ||
| c. All of the above | ||
| d. None of the above |
| a. Equally pertinent | ||
| b. Problematic | ||
| c. Dramatically changed | ||
| d. Relatively incorrect |