seen from United States
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Abandoned Tailings Pond, Clifton, Arizona, David Maisel, 1985, printed 1990, Harvard Art Museums: Photographs
Harvard Art Museums/Fogg Museum, Schneider/Erdman Printer's Proof Collection, partial gift, and partial purchase through the Margaret Fisher Fund © David Maisel Size: 72.1 x 71.2 cm (28 3/8 x 28 1/16 in.) sheet: 98.2 x 75 cm (38 11/16 x 29 1/2 in.) Medium: Toned gelatin silver print
https://www.harvardartmuseums.org/collections/object/337896
Abandoned Log Flow, Lake Chesuncook, Maine, David Maisel, 1987, printed 1990, Harvard Art Museums: Photographs
Harvard Art Museums/Fogg Museum, Schneider/Erdman Printer's Proof Collection, partial gift, and partial purchase through the Margaret Fisher Fund © David Maisel Size: 71.9 x 71.5 cm (28 5/16 x 28 1/8 in.) sheet: 99.5 x 75 cm (39 3/16 x 29 1/2 in.) Medium: Toned gelatin silver print
https://www.harvardartmuseums.org/collections/object/337893
Maisel, David. Various images.
From Desolation Desert: Lithium Extraction #1, Salar de Atacama, Chile, 2018.
Description: The Photographic series, Desolation Desert, showcases the mining operations in Chile’s Atacama Desert.
From The Mining Project: Clifton, Arizona #5, 1989.
Description: The photographic series, The Mining Project, explores extractive sites across the United States.
From The Lake Project: #67, 2015.
Description: The photographic series, The Lake Project, pictures various images of the extremely depleted Owen’s Lake in California.
From The Forest: #4 (Chesuncook Lake, Maine), 1986.
Description: The photographic series, The Forest, shows the remnants of various deforested areas in Maine.
I chose one image from each of the photographic series by Maisel that I would like to showcase at the exhibition. Ideally, several images from each series would be featured in the exhibition and showcased through the same method as the previous photographs by other artists. These photographs by Maisel seem otherworldly, picturing landscapes we might never associate with our Earth. Many of these images quite literally look like a different planet. The images also give the impression that the viewer is looking at something through a microscope, as if the image has been zoomed in. In reality, the photographs are taken from an aerial view, thousands of feet above the ground. I believe Maisel’s work is a prime example of how we have permanently and drastically altered the geography of our Earth. The colors and angles of Maisel’s photographs serve to enhance these drastic alterations of the Earth’s surface, turning them into images that are nearly unrecognizable and disorienting for the viewer. In Lithium Extraction #1, the viewer would likely have no idea what is pictured if it weren’t for the descriptive title. The other images in the Desolation Desert series are similarly perplexing. As stated by Maisel, the extractive industries of Chile’s Atacama Desert “are representative of our radical transformation of the earth and our understanding of our place within it.” The other photographic series, The Mining Project, The Lake Project, and The Forest, similarly show the effect of extractive and destructive industry. The images chosen from The Mining Project and The Lake Project contain red tones that add an aggressive, almost gory, quality to the images. The photographs from The Forest, on the other hand, employ black and white shades to evoke a feeling of mourning for the loss of our planet.
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The notion of my work as being beautiful, that’s not necessarily a bad thing. Remember, beauty is not glamor; beauty is not shallow. Beauty can be transformative. We’re afraid of that word but you could call my work other things too—poisonous, magnetic, terrifying, seductive.
David Maisel
Photography, for me, is a way to see the unseeable and to capture the unimaginable. With a camera, you are able to see things in ways that you’re not ordinarily allowed to see.
David Maisel
it is that simple: just go deeper and follow what interests you.
David Maisel
