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O RMN-Grand Palais / Art Resource, NY 66. The jade cong shown demonstrates visual continuity with other cong created by the Liangzhu culture of Neolithic China because of the (A) elangated shape carved with eariy forms of imperial insignia (B) stacking of multiple interlocking compenents carved in high relief (C) hollow cylindrical design combined with square corners (D) tall rectilinear design incised with an early solar calendar

O RMN-Grand Palais / Art Resource, NY 66. The jade cong shown demonstrates visual continuity with other cong created by the Liangzhu culture of Neolithic China because of the (A) elangated shape carved with eariy forms of imperial insignia (B) stacking of multiple interlocking compenents carved in high relief (C) hollow cylindrical design combined with square corners (D) tall rectilinear design incised with an early solar calendar

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O RMN-Grand Palais / Art Resource, NY 66. The jade cong shown demonstrates visual continuity with other cong created by the Liangzhu culture of Neolithic China because of the (A) clangated shape carved with eariy forms of imperial insignia (B) stacking of multiple interlocking compenents carved in high relief (C) hollow cylindrical design combined with square corners (D) tall rectilinear design incised with an early solar calendar
Transcribed Image Text:O RMN-Grand Palais / Art Resource, NY 66. The jade cong shown demonstrates visual continuity with other cong created by the Liangzhu culture of Neolithic China because of the (A) clangated shape carved with eariy forms of imperial insignia (B) stacking of multiple interlocking compenents carved in high relief (C) hollow cylindrical design combined with square corners (D) tall rectilinear design incised with an early solar calendar
63. Louis-Jacques-Mandé Daguerre's St:ll Life in Studio is an early example of a daguerreotype, a photographic process that creates 65. The statues of votive figures from the Square Temple at Eshnunna (modern Tell Asmar, Iraq) communicate a state of perpetual attentiveness through their (A) an exact imprint of an object through direct contact with chemically sensitive paper (A) composite pase and outstretched arms (B) halftone reprints for use in newspaper and magazine publications C) multiple identical images through repeated (B) upward-tilted head and oversized eyes (C) kneeling pose with a downcast gaze (D) archaic smile and forward stride exposure (D) a unique image an a mirrored or metal surface 64. In Shibboleth, Doris Salcedo invited viewers to conside: feelings of exclusion while walking around the fissure she created in the museum's floor; another interpretation is that the work (A) symbolized the rejection of the art market, through the vandalization of a prestigious art institution (B) embodied environmental destruction, through the act of drilling down into the museum's floor (C) represented political reconciliation, through the repair of the fissure after the installation ended (D) referenced the ongoing legacy of social irequality, through the permanent scar on the gallery's floor
Transcribed Image Text:63. Louis-Jacques-Mandé Daguerre's St:ll Life in Studio is an early example of a daguerreotype, a photographic process that creates 65. The statues of votive figures from the Square Temple at Eshnunna (modern Tell Asmar, Iraq) communicate a state of perpetual attentiveness through their (A) an exact imprint of an object through direct contact with chemically sensitive paper (A) composite pase and outstretched arms (B) halftone reprints for use in newspaper and magazine publications C) multiple identical images through repeated (B) upward-tilted head and oversized eyes (C) kneeling pose with a downcast gaze (D) archaic smile and forward stride exposure (D) a unique image an a mirrored or metal surface 64. In Shibboleth, Doris Salcedo invited viewers to conside: feelings of exclusion while walking around the fissure she created in the museum's floor; another interpretation is that the work (A) symbolized the rejection of the art market, through the vandalization of a prestigious art institution (B) embodied environmental destruction, through the act of drilling down into the museum's floor (C) represented political reconciliation, through the repair of the fissure after the installation ended (D) referenced the ongoing legacy of social irequality, through the permanent scar on the gallery's floor
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