题目详情:

[单项选择]The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defence of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.
Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially ob- serving, witnessing events, exploring themselves--anything but making works of art. They are no longer will- ing to debate whether photography is or is not a fine art, except to pr
A. are struggling to establish photography as a fine art.
B. claim to be making works of art by witnessing events.
C. proclaim that their works have nothing to do with art.
D. agree that photography is as worthy an art as painting.

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