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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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
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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