PT131.S4.P3.Q20 > 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

20.

The passage most strongly supports █████ ███ ██ ███ █████████ ███████████

Prior to suggesting ███ ██████████ ███ ██ █████████████ █████ ██ ████████ ██████ ███████ ███ ████ █████████████ ███████ ████ ██████ ███ ███ ███ ██ ████ █████████

There’s no evidence that Fuller used chrome-nickel steel.

Noguchi believed that ███ ███ ██ ██████████ █████████ ██ ██████ ██████████ █████ ████ ███ ██████████ ████ ████████████ ███████

There’s no evidence Noguchi thought certain materials would make sculptures commercially viable. It’s not even clear that he cared about commercial viability of his sculptures.

Noguchi's "invisible" sculpture ███████ ██ ████ ██ █████ ██ ██████████ ██ ███ ████ ███ ██████ █████ ██ ███████████ ████████

Not supported, because we don’t know that Noguchi’s positive light sculpture had the “shape or dimensions” of surrounding objects. What we know is that the positive-light sculpture could reflect images of surrounding objects, but this doesn’t imply that the sculpture itself appears to have the shape of surrounding objects or the dimensions of surrounding objects. If a car is reflected in the sculpture, for example, this doesn’t imply that the sculpture then looks like it has the shape and dimensions of a car.

44%

If a positive-light █████████ █████████ █ ██████ ██ █ █████████ ██████ ████ ██████ ████ █ █████ ███████ ██ ██████████ ██ █████ ██████████ █████ ██ ██ ████████████ ██ █ █████████ █████████

There’s no evidence that we wouldn’t be able to recognize someone depicted in a sculpture after oxidation. Perhaps the sculpture would lose its reflective properties, but this doesn’t imply we can’t recognize the sculpture as depicting a realistic likeness.

The perception of ███ █████ ███ ██████████ ██ █ ██████████████ █████████ ████ ███ ██████ ██ ███ ██████████ ██ ███████ ████ ███ ███████████ ██████ ███

Supported, based on the description of positive-light sculptures in P4. Noguchi’s positive light sculpture could be perceived only when objects were reflected in them. This was different from a traditional, negative-light sculpture.

47%

PrepTest 131 - Section 4 - Passage 3 - Question 20

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