“Photography is a medium well-suited to recording and imagining the world. It is a cipher for knowledge and a precise yet malleable cataloging system that can be used to make sense of things that are not readily identifiable. And it can be terrifyingly particular in its results. Something beautiful and disquieting happens when David Maisel trains his camera on unfamiliar tracts of land that have been radically reshaped by mechanized activity and environmental neglect. The stains and detritus of mining, logging, and other similarly invasive industrial processes have been an inextricable part of the American landscape for almost two centuries. Although at ground level we may barely notice this topography of open wounds, the view from above is altogether a different matter. This has been Maisel’s principal photographic subject for almost three decades. His quest has taken him up into the air and toward the boundaries of the unknown to unveil a world that most of us have not seen before.”
—Excerpted from An Exquisite Problem by Julian Cox
Interview with Nathalie Fraser for Mixt(e) Magazine Numéro 13, September 2015
“With their square format, acid-bright colours or oneiric black and white, David Maisel’s works invite a kind of contemplation that turns into surprise and finally into shock. These apparently abstract compositions are in fact zones (lakes, mines, conurbations) on which man’s influence has played a radical role in transforming the original landscape. From the sky, perched in a Cessna plane, Maisel overlooks the land like a kind of deus ex machina, motivated both by the power of the image and by the desire to record this alternative American vision.”
Friday, October 2, 2015, 6:30 PM. “David Maisel: Black Maps And Other Dilemmas”
October 30, 2015–February 21, 2016. The photographers in “Photography And The Scientific Spirit” make art in which the scientific or photographic process, or both, is as inventive as the images themselves.