1 According to this unit, which of the following is NOT one of the conceptual criteria for identifying something as art?
Correct. The conceptual approach asks who made it, whether it was intended as art, and whether experts agree. Beauty is not one of the criteria, and many works of art are not beautiful.
The conceptual criteria concern who made the work, what they intended, and whether experts accept it. Look for the quality that is not on that list.
2 Why is Marcel Duchamp's Fountain a hard case for the conceptual criteria?
Correct. Fountain pushes on every criterion: who is the artist if the object was manufactured, what counts as intention, and who decides? That is why it is still argued about.
Think about the three criteria: authorship, intention, expert agreement. Fountain tests each one, which is why it is a hard case, not a simple example.
3 The perceptual approach to identifying art asks
Correct. The conceptual approach asks what kind of thing something is. The perceptual approach asks what it does to the person experiencing it.
The two approaches ask different questions. The conceptual one is about what kind of thing it is; the perceptual one is about what happens when you experience it.
4 Exekias's black-figure amphora was a useful storage jar, but its figures of Achilles and Ajax are carefully composed. What does this show about identifying art perceptually?
Correct. Perceptually, the question is what the object does: the lines of the warriors' bodies and the table are arranged so closely that you want to keep looking.
Look at the Gallery image again. The jar had a practical use, but the figures are arranged with great care. Ask what that care does for the person looking.
5 Francisco Goya's The Third of May 1808 and Eddie Adams's photograph Execution in Saigon share a subject. What does comparing them show about artistic form?
Correct. Goya's lighting, faceless firing squad, and converging lines are composed. The photograph captures a real event. That does not stop it from being art; it means recognizing degrees of form matters.
The lesson does not say the photograph is not art. It says artistic form comes in degrees, and Goya's painting has been composed to a much higher degree.
6 A participative experience involves
Correct. Participation is the experience of losing track of yourself and your surroundings because a work holds your attention completely.
Participation is not about other people or about characters. It is about attention that is undivided and sustained, so that you forget where you are.
7 Which of these best describes a participative experience?
Correct. When a work holds you so fully that your sense of time disappears, you are participating in it.
Participation is about being absorbed. Look for the example in which attention is so complete that the person loses track of their surroundings.
8 Subject matter and content are different because
Correct. The subject matter of a war painting is war; its content is what the artist's form makes of that subject: what the war is like, what it costs.
The two terms are not synonyms. Subject matter is the topic; content is the topic as shaped, clarified, and made meaningful by form.
9 In Bruegel's Landscape with the Fall of Icarus, the subject matter is suffering, but the content is indifference. How does the painting produce that content?
Correct. Nothing in the painting says so in words. The meaning is in the scale, placement, and relationships between the figures. That is what fusing meaning into form looks like.
The lesson stresses that the content is not stated anywhere. Look for the answer that locates the meaning in the painting's composition.
10 James Turrell's Twilight Epiphany, a skyspace, is described as participation in its purest form. Why?
Correct. The skyspace makes no argument and tells no story. It simply holds your attention so fully that you lose track of yourself.
Think about what the skyspace asks of you. It is not a story or an argument; it is an experience of sustained attention.