PT131.S4.P3.Q18 > Analytics

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The Japanese American sculptor Isamu Noguchi (1904–1988) was an artist who intuitively asked—and responded to—deeply original questions. ██ █████ ████ ████ ██████ █ █████████ ██████ █ ████████ ██████████ ███████████ ███ ██ ███████ ██████ ██ ██████ ███ ██████████ ██████ ███ ██ ████ ██████ ████ ███ ██████████ ███████ ████████ ██ ██████████████ ████████ ███████ ██ ████ ███ ███████████ ███ ██████ ████████ ███

Intro topic · Sculptor Isamu Noguchi and his originality as an artist

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Focus topic · How one sculpture reveals Noguchi's originality

Possibly the main point, though too early to say for certain

Noguchi's early career · Won award for his sculptures, traveled to Paris, began working for sculptor Brancusi as stonecutter

Evidence of Noguchi's originality · Noticed that sculptors focus on use of shadow, rather than use of reflected light

Noguchi's plan · Create reflective sculpture of Buckminster Fuller using chrome-nickel steel

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Characteristics of reflective sculpture · Can only be properly viewed and understood when it reflects other objects

Analogy between reflective sculpture and calm water: difficult to see directly; instead, you see what's reflected

Further evidence of Noguchi's originality · After completing reflective sculpture, moved on to new things

Passage Style

Single position

Spotlight

18.

The passage offers the strongest ████████ ████ ███ ██████ █████ █████ ████ █████ ███ ██ ███ █████████ ███████████

Noguchi's work in █████ ███████████ █████████████ ██ ███ ███ ██ █████████ ██ ████ ██ ████████ █████████ ██ ████████ ████ █████ ██████████ █████████ █████████ ███ ██████ ██████████████ ██ █████████

We don’t know that other sculptors tried to make sculptures using materials that could be relied on for positive-light or even viewed the use of negative light in sculptures as a “problem.”

Noguchi's scientific approach ██ █████████ ██████████ ███ ██ █████████ █████████ ███ ██████████ ██ ██████████ ██████████ ██ ████ ██ ███ ██ ██████ ██████████ █████████

The passage never suggests that Noguchi did not have formal scientific training.

11%

Despite the fact ████ ████████ ███ █ ████████ ███ ██████ ███ ████ ██████ ██████ █ ████ ███████ ████ ████ ███ ████████ ██ █████████ ███████████ ██ ███ ██████████ ██ ████████ █████ ██ ███ ████ ██ ████████ ██████████

The author never compares the influence of Brancusi and Fuller on Noguchi and his realization of the importance of negative light.

Noguchi was more ██████████ ██ ██████████ ███████████ █████████ █████████ ████ ██ ███████████ █ ██████████ ████████ ██████

Supported. The author notes that Noguchi had an “inquisitive nature” and proceeded to explore a new artistic issue after developing his positive-light sculpture. The author also describes Noguchi as someone who asked and responded to deeply original questions.

59%

Noguchi's work is ██ ███████ ████████ ███ ████ ██ ███████ ███ ████ █████ ███ █████ ██ ██████████ ████████ ██ ███ ████ ███ ████ █████ ███ █████ ██ █████████ ██████████ ██ ██████████ ████████

The author never tries to make a broader point about the value of aesthetic approaches to scientific inquiry. In fact, the passage isn’t about a scientific inquiry. It’s about Noguchi’s artistic approach.

21%

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PrepTest 131 - Section 4 - Passage 3 - Question 18

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PrepTest 131 - Section 4 - Passage 3 - Question 18

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