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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______.
Art fairs are expanding prosperously in that______.
A.the cost ofholding an art fair becomes affordable
B.cross-trade galleries take place worldwide
C.contemporary art market is growing faster than before
D.the rapid growth of the modern art market is mainly in developing countries
B.cross-trade galleries take place worldwide
C.contemporary art market is growing faster than before
D.the rapid growth of the modern art market is mainly in developing countries
参考答案
参考解析
解析：推理判断题。根据定位词我们可得知第二、三段都有提及，其中的第三段点明了题目中的原因，即One explanation for the boom is the overall growth of the modem-{ui market。（全球当代艺术市场的发展是艺术博览会快速发展的原因之一。）与这个信息相对应的选项为C项contemporary art market is growing faster than before“当代艺术市场发展速度比之前快”，故C项为正确选项。【干扰排除】A项affordable在第二段出现，即Affordable Art Fair，指平价艺术品展览会，但文中并未提及成本变平价。B项中的cross-trade是跨行业的意思，文中没有体现。D项在段落中没有体现，因此均排除。
更多 “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 affordable B.cross-trade galleries take place worldwide C.contemporary art market is growing faster than before D.the rapid growth of the modern art market is mainly in developing countries” 相关考题
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根据下列材料请回答 26～30 题：BToday there are policemen everywhere, but in 1700, London had no policemen at all. A few old men used to protect the city streets at night and they were not paid.About 300 years ago, London was starting to get bigger and more and more people began to live there. The city was very dirty and many people were poor. There were so many thieves who stole money in the streets that people stayed in their homes as much as possible.In 1750, Henry Fielding started to pay a group of people to stop thieves. They were like policemen and were called "Bow Street Runners" because they worked near Bow Street.Fifty years later, there were 120 "Bow Street Runners", but London had become very big and needed more policemen. So in 1829, the first Metropolitan (or London)Police Force was started with 3,000 officers. Most of the men worked on foot, but a few rode horses. Until 1920 all the police in London were men.Today. the London police are quite well paid and for the few police officers who still ride horses, the pay is even better than for the others.第 26 题 In 1700, the men who protected the streets were paid __________.A． a fewB． nothingC． a littleD． a lot
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Before relativistic particle physics, the constituents of matter had always been considered as being either elementary units which were indestructible and unchangeable, or as composite objects which could be broken up into their constituent parts;
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12 PEOPLE KILLED, 50 INJURED IN DENVER MOVIE THEATER SHOOTING LOS ANGELES, July 20 (Xinhua) -- A masked gunman released tear gas and opened fire into a crowded movie theater in a suburb of Denver early Friday, killing 12 people and injuring at least 50 others, police said. Aurora Police Chief Dan Oates told reporters that the shooter, aged 24, had been arrested in the parking lot behind the theater. The FBI said there was so far no indication of any links to terror groups. Some moviegoers said they thought the attack was part of the show when they saw a person appearing at the front of the theater during the movie, pointing a gun at the crowd. Police and firefighters rushed to the mall shortly after the shootings occurred at around 12:30 a.m. local time (0630 GMT). CNN reported at least 20 people were being treated for gunshot wounds in hospital, three of them in serious condition.1. In the shooting, 50 people were killed and 12 people were injured.()2. The shooter was arrested.()3. The FBI said that the shooter was from the terror groups.()4. The moviegoers didn’t realize the person would shoot at the crowd at first.()5. Only the police went to the mall to help.()
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第二篇The Cherokee NationLong before the white man came to America,the land belonged to the American Indian nations.The nation of the Cherokees lived in what is now the southeastern part of the United States.After the white man came,the Cherokees copied many of their ways.One Cherokee named Sequoyah saw how important reading and writing were to the white man.He decided to invent a way to write down the spoken Cherokee language.He began by making word pictures.For each word he drew a picture.But that proved impossible一there were just too many words.Then he took the 85 sounds that made up the language.Using his own imagination and an English spelling book, Sequoyah invented a sign for each sound.His alphabet proved amazingly easy to learn.Before long,many Cherokees knew how to read and write in their own language.By 1828,they were even printing their own newspaper.In 1830,the U.S. Congress passed a law.It allowed the government to remove Indians from their lands.The Cherokees refused to go.They had lived on their lands for centuries.It belonged to them.Why should they go to a strange land far beyond the Mississippi River?The army was sent to drive the Cherokees out.Soldiers surrounded their villages and marched them at gunpoint（在枪口的威胁下）into the western territory. The sick, the old and the small children went in carts,along with their belongings.The rest of the people marched on foot or rode on horseback.It was November,yet many of them still wore their summer clothes.Cold and hungry,the Cherokees were quickly exhausted by the hardships of the journey.Many dropped dead and were buried by the roadside.When the last group arrived in their new home in March 1839,more than 4,000 had died.It was indeed a march of death.Which of the following statements about Sequoyah is NOT true?A:He was imaginative.B:He was an Indian.C:He was a white man.D:He wrote down the spoken Cherokee language.
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第二篇The Cherokee NationLong before the white man came to America,the land belonged to the American Indian nations.The nation of the Cherokees lived in what is now the southeastern part of the United States.After the white man came,the Cherokees copied many of their ways.One Cherokee named Sequoyah saw how important reading and writing were to the white man.He decided to invent a way to write down the spoken Cherokee language.He began by making word pictures.For each word he drew a picture.But that proved impossible一there were just too many words.Then he took the 85 sounds that made up the language.Using his own imagination and an English spelling book, Sequoyah invented a sign for each sound.His alphabet proved amazingly easy to learn.Before long,many Cherokees knew how to read and write in their own language.By 1828,they were even printing their own newspaper.In 1830,the U.S. Congress passed a law.It allowed the government to remove Indians from their lands.The Cherokees refused to go.They had lived on their lands for centuries.It belonged to them.Why should they go to a strange land far beyond the Mississippi River?The army was sent to drive the Cherokees out.Soldiers surrounded their villages and marched them at gunpoint（在枪口的威胁下）into the western territory. The sick, the old and the small children went in carts,along with their belongings.The rest of the people marched on foot or rode on horseback.It was November,yet many of them still wore their summer clothes.Cold and hungry,the Cherokees were quickly exhausted by the hardships of the journey.Many dropped dead and were buried by the roadside.When the last group arrived in their new home in March 1839,more than 4,000 had died.It was indeed a march of death.The word"exhausted"in the last paragraph could be best replaced byA:"worn out". B:"ended up".C:"run out". D:"finished up".
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第二篇The Cherokee NationLong before the white man came to America,the land belonged to the American Indian nations.The nation of the Cherokees lived in what is now the southeastern part of the United States.After the white man came,the Cherokees copied many of their ways.One Cherokee named Sequoyah saw how important reading and writing were to the white man.He decided to invent a way to write down the spoken Cherokee language.He began by making word pictures.For each word he drew a picture.But that proved impossible一there were just too many words.Then he took the 85 sounds that made up the language.Using his own imagination and an English spelling book, Sequoyah invented a sign for each sound.His alphabet proved amazingly easy to learn.Before long,many Cherokees knew how to read and write in their own language.By 1828,they were even printing their own newspaper.In 1830,the U.S. Congress passed a law.It allowed the government to remove Indians from their lands.The Cherokees refused to go.They had lived on their lands for centuries.It belonged to them.Why should they go to a strange land far beyond the Mississippi River?The army was sent to drive the Cherokees out.Soldiers surrounded their villages and marched them at gunpoint（在枪口的威胁下）into the western territory. The sick, the old and the small children went in carts,along with their belongings.The rest of the people marched on foot or rode on horseback.It was November,yet many of them still wore their summer clothes.Cold and hungry,the Cherokees were quickly exhausted by the hardships of the journey.Many dropped dead and were buried by the roadside.When the last group arrived in their new home in March 1839,more than 4,000 had died.It was indeed a march of death.The Cherokees went to their new landsA:in carts. B:on horseback.C:on foot. D:all of the above.
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Janet as well as the other young people who ____ sent abroad by government ___ brought up in the small town.
A. was;was
B. was;were
C. were ;were
D. were ;was
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第三篇 The Body ThievesIn the early nineteenth century in Britain,many improvements were being made in the world of medicine.Doctors and surgeons were becoming more knowledgeable about thehuman body.Illnesses that had been fatal a few years before were now curable.However, surgeons had one problem.They needed dead bodies to cut up,or dissect（解剖）.This was the only way that they could learn about the flesh and bones inside the body,and the only way to teach new surgeons to carry out operations.The job of finding these dead bodies was carried out by an unpleasant group of people called "body snatchers". They went into graveyards（墓地）at night and, using woodenshovels to make less noise,dug up any recently buried bodies.Then they took the bodies to the medical schools and sold them.A body could be sold for between ￡5 and ￡10, which was a lot of money at that time.The doctors who paid the body snatchers had an agreement with them一they never asked any questions.They did not desire to know where the bodies came from,as long as they kept arriving.The most famous of these body snatchers were two men from Edinburgh called William Burke and Wil!iam Hare.Burke and Hare were different because they did not」ust dig up bodies from graveyards.They got greedy and thought of an easier way to find bodies. Instead of digging them up,they killed the poorer guests in Hare's small hotel.Dr Knox, the respected surgeon they worked for,never asked why all the bodies they brought him had been strangled（勒死）.For many years Burke and Hare were not caught because,unsurprisingly,the bodies of their victims were never found by the police.They were eventually arrested and put ontrial in 1829.The judge showed mercy to Hare and he was released but Burke was found guilty and his punishment was to be hanged.Appropriately,his body was given to the medical school and he ended up on the dissecting table,just like his victims.In one small way，justice was done.Now,over 1 50 years later,surgeons do not need the help of criminals to learn their skills.However,the science of surgery could not have developed without their rather gruesome（令人毛骨惊然的）help. The problem facing British surgeons in the early 1 9th century was thatA:some ii{nesses remained incurable.B: few people were willing to work as surgeons.C: medical expenses were too high.D:dead bodies were not easily available.
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第三篇 The Body ThievesIn the early nineteenth century in Britain,many improvements were being made in the world of medicine.Doctors and surgeons were becoming more knowledgeable about thehuman body.Illnesses that had been fatal a few years before were now curable.However, surgeons had one problem.They needed dead bodies to cut up,or dissect（解剖）.This was the only way that they could learn about the flesh and bones inside the body,and the only way to teach new surgeons to carry out operations.The job of finding these dead bodies was carried out by an unpleasant group of people called "body snatchers". They went into graveyards（墓地）at night and, using woodenshovels to make less noise,dug up any recently buried bodies.Then they took the bodies to the medical schools and sold them.A body could be sold for between ￡5 and ￡10, which was a lot of money at that time.The doctors who paid the body snatchers had an agreement with them一they never asked any questions.They did not desire to know where the bodies came from,as long as they kept arriving.The most famous of these body snatchers were two men from Edinburgh called William Burke and Wil!iam Hare.Burke and Hare were different because they did not」ust dig up bodies from graveyards.They got greedy and thought of an easier way to find bodies. Instead of digging them up,they killed the poorer guests in Hare's small hotel.Dr Knox, the respected surgeon they worked for,never asked why all the bodies they brought him had been strangled（勒死）.For many years Burke and Hare were not caught because,unsurprisingly,the bodies of their victims were never found by the police.They were eventually arrested and put ontrial in 1829.The judge showed mercy to Hare and he was released but Burke was found guilty and his punishment was to be hanged.Appropriately,his body was given to the medical school and he ended up on the dissecting table,just like his victims.In one small way，justice was done.Now,over 1 50 years later,surgeons do not need the help of criminals to learn their skills.However,the science of surgery could not have developed without their rather gruesome（令人毛骨惊然的）help. Burke and Hare differed from other body snatchers in thatA:they got other people to dig up bodies for them.B: they sold the bodies only to one surgeon.C: they dug up bodies not just from graveyards.D: they resorted to murder to get bodies.
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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 Galleries
B.The Proper Opening ofArt Fairs
C.The Thorny Questions ofArt Fairs
D.The Hopeless Stories ofArt Market
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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.
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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.
考题
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 groups
B.setting modem paintings and sculptures
C.holding an expo
D.reporting an art fair through The Economist
考题
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 artwork
B.there will be more rich collectors return to the galleries
C.the size of galleries would be twice than the fairs on the website
D.more galleries will move to the golden place
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共用题干
The Writing's on the Wall?Is it art or is it just vandalism（故意破坏公共财物罪）?Well, it's still a crime ,but graffiti（涂鸦）has changed since the days of spraying your name on a wall to mark your territory.Street art has become much more sophisticated since a 17-year-old called Demetrius started spraying his"tag",TAKI 183,all over the New York underground in 1971,and hip-hop culture was born.Hip-hop is a mixture of art,music,dancing, poetry,language and fashion.It came from 'young inner-city people,who felt left out by their richer classmates and who were desperate to express themselves in any way they could.An experiment to control the spread of graffiti in Rochdale,Greater Manchester,has been so successful that plans have been made by local street artists for an international convention in June."We're planning to get people together from different countries like France and Germany for a week,"says Liam,one of the organizers. The scheme started in 2000,and has attracted people of all age groups and both sexes."We all share a common interest and get on really well with each other."The first site to be chosen was a subway. "Before we began,people were afraid to use the subway.We had it cleaned up,and now,with all the artists hanging out down there,people are using it again.People can relate to graffiti much more now."By providing places to display their talents legally,there has been a fall in the amount of"tagging"on people's private property.Street artist Temper developed his drawing skills at a young age.In art classes at school he was really frustrated because the art teachers didn't spend time with him. They thought he was already very good at artand so spent more time with other students.So,at 12 years old,Temper started painting with all these guys he'd hooked up with and who were about 22 years old.He looked up to them and loved what they were doing on the streets of Wolverhampton,England."The whole hip-hop scene was built up of different things and I did a bit of everything. But it was always the graffiti I was best at."he says.People did not like using the subway before an organized group of graffiti artists came.A:RightB:WrongC:Not mentioned
考题
共用题干
The Writing's on the Wall?Is it art or is it just vandalism（故意破坏公共财物罪）?Well, it's still a crime ,but graffiti（涂鸦）has changed since the days of spraying your name on a wall to mark your territory.Street art has become much more sophisticated since a 17-year-old called Demetrius started spraying his"tag",TAKI 183,all over the New York underground in 1971,and hip-hop culture was born.Hip-hop is a mixture of art,music,dancing, poetry,language and fashion.It came from 'young inner-city people,who felt left out by their richer classmates and who were desperate to express themselves in any way they could.An experiment to control the spread of graffiti in Rochdale,Greater Manchester,has been so successful that plans have been made by local street artists for an international convention in June."We're planning to get people together from different countries like France and Germany for a week,"says Liam,one of the organizers. The scheme started in 2000,and has attracted people of all age groups and both sexes."We all share a common interest and get on really well with each other."The first site to be chosen was a subway. "Before we began,people were afraid to use the subway.We had it cleaned up,and now,with all the artists hanging out down there,people are using it again.People can relate to graffiti much more now."By providing places to display their talents legally,there has been a fall in the amount of"tagging"on people's private property.Street artist Temper developed his drawing skills at a young age.In art classes at school he was really frustrated because the art teachers didn't spend time with him. They thought he was already very good at artand so spent more time with other students.So,at 12 years old,Temper started painting with all these guys he'd hooked up with and who were about 22 years old.He looked up to them and loved what they were doing on the streets of Wolverhampton,England."The whole hip-hop scene was built up of different things and I did a bit of everything. But it was always the graffiti I was best at."he says.Most of the other graffiti artists in England were about ten years older than Temper.A:RightB:WrongC:Not mentioned
考题
Although the Wars of the Roses were fought intermittently for（）years,ordinary people were little affected and went about their business as usual.A20B30C40D50
考题
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.
考题
单选题Although the Wars of the Roses were fought intermittently for（）years,ordinary people were little affected and went about their business as usual.A
20B
30C
40D
50
考题
单选题While we were in London that year, the London Bridge ______ .A
is being repairedB
was being repairedC
has been repairedD
had been repaired
考题
单选题What happened to the two seamen in the end? ______.A
They were killed in the explosion.B
They survived but were badly burned.C
They died shortly after reaching the beach.D
They were blown off the ship and swam ashore.
考题
单选题Shortly after the accident, two ______ police were sent to the spot to keep order.A
dozen ofB
dozensC
dozenD
dozens of
考题
单选题Leslie’s upset. She invited about 20 people to her house for a party and then no one showed up. The least they _____ have done was to call to say they _____ to go.A
might; were goingB
could; weren’t goingC
might; weren’t supposedD
should; were going
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