Library of Dust
2005 — 2006

“. . . these canisters hold the cremated remains of patients from an American psychiatric hospital. Oddly reminiscent of bullet casings, the canisters are literal gravesites. Reacting with their ash inhabitants, the canisters are now blooming with secondary minerals, articulating new metallic landscapes.”

— Geoff Manaugh, Contemporary

Oblivion
2004 — 2006

“This is not the first time you’ve seen an overhead shot of L.A.’s looping freeway interchanges, but Maisel abstracts them and everything else here until the city appears depopulated, absolutely postapocalyptic.”

— Vince Aletti, The New Yorker

Terminal Mirage
2003 — 2005

“The series Terminal Mirage . . . is as visually mesmerizing as an abstract canvas, with its sharp geometries and green flourescence. The end of the world surely never looked this good. So good, in fact, that it is often difficult to know what we are seeing . . .”

— Lyle Rexler, Photograph

The Lake Project
2001 — 2002

“In Mr. Maisel’s photos, the vistas are majestic, terrifying, and weirdly beautiful. They seem more intimate than microscopic data, vaster than extraterrestrial space.”

— Amei Wallach, The New York Times

The Mining Project
1987 — 1991

“. . . Maisel has succeeded in mapping the fictive terrains of the unconscious, of nightmares and hallucinations. He has also used the camera’s objectifying optics to form cartographies of the irrational and the perverse, the preconscious and the primordial . . .”

— Robert Sobieszek, Archaeopsychic Vistas

Asylum
2004

“It seems impossible that the heart of this institution still functions, that somewhere at the end of a long corridor doctors and nurses still practice medicine.”

— Julie Hanus, Utne