雅思阅读真题（Part 3）

Mark Strizic: a career of an Australian photographer

Part 3 · 考频：高频 · 最近考试：2024.12.21

文章内容（节选）

A 

Mark Strizic, who passed away in December last year, was the last representative of a remarkable generation of European émigré photographers who settled in Australia after the Second World War. Alongside Wolfgang Sievers and Henry Talbot, Strizic contributed significantly to the visual culture of his adopted country. Yet, unlike many of his contemporaries, whose reputations were largely based on industrial or commercial photography, Strizic developed a career that was unusually complex. Over a span of five decades, he explored multiple photographic styles, experimented with new printing processes, engaged in book design, produced large-scale murals, and participated actively in teaching the next generation of photographers.

 

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题目与答案

  1. Strizic worked with him to produce a book about Melbourne.
    • David Saunders
    • Andrew Grimwade
    • Leonard French
    • Strizic’s father
    • Stanislav Ostoja-Kotkowski
    • Geoffrey Dutton

    答案：David Saunders

    原文定位：One of his most enduring achievements was his partnership with the critic and historian David Saunders, with whom he produced Melbourne: A Portrait in 1960

    同义替换：「worked」↔「partnership」

  2. He edited the art book Involvement.
    • David Saunders
    • Andrew Grimwade
    • Leonard French
    • Strizic’s father
    • Stanislav Ostoja-Kotkowski
    • Geoffrey Dutton

    答案：Andrew Grimwade

    原文定位：A more prestigious venture was Involvement (1968), a limited-edition art book edited by Andrew Grimwade

  3. He designed the cover of Melbourne: A Portrait.
    • David Saunders
    • Andrew Grimwade
    • Leonard French
    • Strizic’s father
    • Stanislav Ostoja-Kotkowski
    • Geoffrey Dutton

    答案：Leonard French

    原文定位：The book’s bright and cheerful cover, designed by Leonard French, contributed to its appeal

  4. His book on Zagreb inspired Strizic’s Melbourne: A Portrait.
    • David Saunders
    • Andrew Grimwade
    • Leonard French
    • Strizic’s father
    • Stanislav Ostoja-Kotkowski
    • Geoffrey Dutton

    答案：Strizic’s father

    原文定位：Strizic later admitted that the idea for Melbourne: A Portrait had been shaped by his father’s earlier work. His father, an architect in Zagreb, had published Light and Shade in 1955, a reflective “city book” in the European style

    同义替换：「inspired」↔「shaped the idea for」

  5. He collaborated with Strizic to combine photochromes with infrared photography.
    • David Saunders
    • Andrew Grimwade
    • Leonard French
    • Strizic’s father
    • Stanislav Ostoja-Kotkowski
    • Geoffrey Dutton

    答案：Stanislav Ostoja-Kotkowski

    原文定位：A notable example was his collaboration with Stanislav Ostoja-Kotkowski in 1970 on a twelvemetre mural for the Ciba-Geigy building in Preston, which merged infrared photography with Strizic’s experimental prints

    同义替换：「combine」↔「merged」

  6. He wrote the text for Involvement, which was considered pretentious.
    • David Saunders
    • Andrew Grimwade
    • Leonard French
    • Strizic’s father
    • Stanislav Ostoja-Kotkowski
    • Geoffrey Dutton

    答案：Geoffrey Dutton

    原文定位：The accompanying text, written by Geoffrey Dutton, sought to place the collaboration in a grand cultural framework

    同义替换：「Involvement」↔「accompanying」，「considered pretentious」↔「sought to place」

  7. 33 2000 Weeks and its accompanying photo-roman were successful with the public.
    • YES
    • NO
    • NOT GIVEN

    答案：NO

    原文定位：Although the film was produced in a European art-house style and tackled existential themes, it failed at the box office, and Strizic’s book met a similar fate

    同义替换：「successful with the public」↔「failed at the box office」

  8. 34 Strizic’s portraits in Involvement were exhibited at the National Gallery of Victoria in 1968.
    • YES
    • NO
    • NOT GIVEN

    答案：YES

    原文定位：These images were exhibited in 1968 at the National Gallery of Victoria under the title Some Australian Personalities

    同义替换：「portraits」↔「images」

  9. 35 Strizic was one of the first to document the interactive artwork Sculptron.
    • YES
    • NO
    • NOT GIVEN

    答案：NOT GIVEN

    原文定位：He also worked with avant‑garde artists such as Asher Bilu, producing the only surviving photographic record of Bilu’s interactive electronic work Sculptron (1967)

    同义替换：「document」↔「record」

  10. 36 Strizic’s photographic murals were produced with the help of advanced digital technology.
    • YES
    • NO
    • NOT GIVEN

    答案：NO

    原文定位：In the field of murals, he developed large-scale photographic works for government buildings and corporate headquarters, sometimes combining his “photochromes” with paintings

  11. 37 Strizic is best remembered solely as a nostalgic photographer of Melbourne.
    • YES
    • NO
    • NOT GIVEN

    答案：NO

    原文定位：Since then, he has often been remembered as a nostalgic chronicler of “old Melbourne” or “disappearing Melbourne.” Yet such a label oversimplifies his contribution

    同义替换：「best remembered solely as」↔「often been remembered as」

  12. Melbourne: A Portrait received the Book of the Year award.
    • 1961
    • 1968
    • 1970
    • 1988

    答案：1961

    原文定位：In 1961 it was awarded Book of the Year, recognition not only of the photographs themselves but of the integrated design of the whole publication

  13. Strizic collaborated with Robin Boyd on Living in Australia.
    • 1961
    • 1968
    • 1970
    • 1988

    答案：1970

    原文定位：That same year, Strizic worked with the influential architect Robin Boyd on Living in Australia, a book which sought to articulate Boyd’s design philosophy

    同义替换：「collaborated」↔「worked」

  14. Strizic returned to his early negatives of Melbourne streets for an exhibition.
    • 1961
    • 1968
    • 1970
    • 1988

    答案：1988

    原文定位：In 1988 he returned to his earliest negatives of Melbourne, staging an exhibition that highlighted his long-standing interest in the city’s changing urban landscape

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