“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
March 26 – May 3, 2015.
Mark Moore Gallery is proud to present “The Fall” a recent series of large-scale color photographs by California–based artist David Maisel. For over two decades, Maisel has rigorously photographed aerial perspectives of landscapes affected by industry, agriculture, urban sprawl and other forms of human intervention. Despite the political underpinnings of these images, Maisel’s work refuses didactic interpretation, arriving instead at a surreal and abstracted intersection of beauty, mystery, and horror that the artist has referred to as the “apocalyptic sublime.”read more →
Juxtapoz “Ancient X-Rays.” December 6th, 2014. Hodson, Canbra.
“These objects that have existed for centuries take on a new romanticized quality in Maisel’s work and provide us with an often unseen glimpse into the artistic process that was involved to create them.”read more →
January 8 – February 28, 2015. “Goethe’s Chamber” is a group exhibition that invites visitors to reconsider vision as an embodied, subjective and durational experience, continuously augmented by emergent technologies and theorized from various vantages throughout the ages. Located at the intersection of science and fiction, the exhibition’s title is an allusion to polymath Johann Wolfgang von Goethe’s pioneering work The Theory of Colour (1810).read more →