davidmaiselstudio
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The Mining Project Clifton AZ 3 (1989)
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“For Maisel, the artistic potential of these places is directly correlated with their noxious reality: “The baser the site, the more susceptible it seems to be for poetic contemplation, the more fascinating it becomes as subject matter.” Maisel’s photographs show the sublime effects of these great engineering feats layered on a landscape with its own history of the sublime. The color illuminated from the earth’s surface represents the toxicity of human intervention, but the seduction of the color remains.” — Eliciting Anxiety in the Presence of the Sublime, Natasha Egan, Reprinted from Black Maps: American Landscape and the Apocalyptic Sublime, Steidl, 2013
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houkgallery hainesgallery ellenmillergallery robischongallery ivorypress instituteartist ( sixthextinctionvoices )
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The Mining Project Clifton AZ 3 (1989)
.
.
“For Maisel, the artistic potential of these places is directly correlated with their noxious reality: “The baser the site, the more susceptible it seems to be for poetic contemplation, the more fascinating it becomes as subject matter.” Maisel’s photographs show the sublime effects of these great engineering feats layered on a landscape with its own history of the sublime. The color illuminated from the earth’s surface represents the toxicity of human intervention, but the seduction of the color remains.” — Eliciting Anxiety in the Presence of the Sublime, Natasha Egan, Reprinted from Black Maps: American Landscape and the Apocalyptic Sublime, Steidl, 2013
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.
houkgallery hainesgallery ellenmillergallery robischongallery ivorypress instituteartist ( sixthextinctionvoices )