Gohlke The Sublime Photographic Art Essay

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108). Photographic truth for Gohlke is realized by showing 'the thing itself' but through a subjective perspective, accepting the contextual relativism of postmodernism without attempting to alter the piece with overt artistic tampering. Gohlke has long loved wilderness photography for its apparent purity, although he also obviously finds inspiration in the remote qualities of areas in cities. Gohlke focuses the viewer's intention on content and subject, not his technical virtuosity as a photographer or an imagined past history or connection to a larger history of art (Minichiello 1992, p.108). The viewer's involvement and experience with the landscape on a personal level is what is required to appreciate...

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"Photographing the Common Wilderness." American Art. 6. 1. (Winter, 1992): 108-110. 10 Oct 2008.
URL:

http://www.jstor.org/stable/3109051

Watkinson, Patricia Grieve. "Mount St. Helens: An Artistic Aftermath." Art Journal.

44.3. (Autumn, 1984): 259-269. 10 Oct 2008.

Stable URL: http://www.jstor.org/stable/776826

Sources Used in Documents:

Works Cited

Minichiello, Kent. "Photographing the Common Wilderness." American Art. 6. 1. (Winter, 1992): 108-110. 10 Oct 2008.

URL:

http://www.jstor.org/stable/3109051

Watkinson, Patricia Grieve. "Mount St. Helens: An Artistic Aftermath." Art Journal.
Stable URL: http://www.jstor.org/stable/776826


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