A) happenings.
B) Conceptual Art.
C) installations.
D) architecture.
E) motion pictures.
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Multiple Choice
A) historically follows an obvious progression and advocates a dominant direction.
B) can take many directions at the same time, all of them equally valid.
C) should be based on the advancement of formal discoveries.
D) should focus on the future and leave the past behind.
E) None of these answers is correct.
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Multiple Choice
A) developed from graduates of the New York School.
B) went mostly unnoticed by the rest of the world outside of New York.
C) was a convenient way to lump together the Abstract Expressionists.
D) completely rejected the ideas of Surrealism.
E) quickly moved from New York to Paris.
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Multiple Choice
A) that art should be a permanent physical record of an event.
B) that art should concentrate on its basic forms of sculpture and painting.
C) that artists had to have credentials and advanced training.
D) that American art was not meeting the desires of the general public.
E) that art was most like life itself.
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Multiple Choice
A) land art.
B) feminist art.
C) Neo-Expressionism.
D) performance art.
E) Neo-Dada art.
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Multiple Choice
A) pointillism.
B) surrealism.
C) realism.
D) conceptual art.
E) None of these answers is correct.
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Multiple Choice
A) gestural
B) cubist
C) conceptual
D) impressionistic
E) pointillist
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A) Helen Frankenthaler.
B) Alice Neel.
C) Mark Rothko.
D) Jackson Pollock.
E) Louise Bourgeois.
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Multiple Choice
A) dealt directly with the trauma of Germany's past.
B) explored the role of the subconscious and dream images.
C) consisted of mass-produced replicas of works of other artists.
D) was an exploration of flatness.
E) inserted words resembling advertising slogans into public places.
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Multiple Choice
A) the relationship between image and object.
B) the ability to reproduce an image.
C) the impact of symbols.
D) the psychological use of color.
E) paradoxes.
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Multiple Choice
A) a movement in photography that explores various levels of representation.
B) a movement in sculpture that uses actual objects.
C) a movement in art that rejects the camera as a viable art tool.
D) a movement in painting that explores the way a camera "sees."
E) a movement that involves documentation in film.
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