Experience the groundbreaking and captivating tableaux of photographer Tanya Marcuse at the Thomas Cole National Historic Site. As part of the “Women Reframe American Landscape” exhibition, Marcuse’s “Woven Nº 33” challenges traditional notions of ‘land’ and ‘landscape’ while honoring American landscape painter Susie Barstow. Interestingly, Marcuse does not consider herself a landscape photographer, adding a unique perspective to the show. The photograph, displayed in Cole’s bedroom, ignites a sense of curiosity. Would Cole, the founding father of American landscape painting, approve? Ultimately, it doesn’t matter. As Elizabeth Jacks, director at the Thomas Cole National Historic Site, wisely states, “These museums are not built for the dead — they’re for the living.”
Marcuse’s photographs grace the collections of prestigious institutions such as the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the National Gallery of Art, and the George Eastman Museum. Throughout her career, she has astounded viewers by juxtaposing death and life within her images. In her series “Slaughterhouse” from 1983, ethereal portraits of abattoir workers share an uneasy companionship with still lifes of flesh and bone. The rawness of the slaughterhouse is tempered, albeit slightly, by the presence of these workers. Marcuse invites us to momentarily experience their environment, engaging our senses. Similarly, “Ars Moriendi” from 1986 presents an unflinching look at artist Balcomb Greene’s aging body, challenging the notion of divine intervention by suggesting that the power of creation offers its own form of transcendence. Despite the gentler tone of her later works, Marcuse admitted that all of her creations wrestle with the impermanence of life.
Marcuse’s journey into photography began unexpectedly during her time at Bard College. Originally unable to enroll in a painting class, she reluctantly turned to photography. Little did she know that this twist of fate would change her life forever. Her first attempt at creative photography, capturing a tree in winter, revealed the power of intention and composition. Despite initial errors, Marcuse saw the potential for translating fleeting moments into lasting photographs through attention and discipline.
Years later, Marcuse found herself returning to trees as subjects in her work. With her series “Fruitless,” she explored black-and-white imagery of fruit trees in the Hudson Valley. This series laid the foundation for subsequent projects such as “Fallen” and “Woven.” In “Fallen,” Marcuse shifted her focus downward, creating scenes that blurred the boundaries between birth and death. She intervened in these scenes, arranging fallen fruit and organic materials into symbolic still lifes. Additionally, she made the bold decision to transition to color photography, resulting in captivating compositions that evoke the optical complexity of Pollock’s paintings. Each nature-inspired photograph in Marcuse’s “Woven” series is crafted meticulously, with the artist spending months constructing a tableau of decaying fruit, plants, and animals. The final images are composed of stitched-together frames, allowing for incredible detail when viewed up close.
Amidst the changing landscape of the Hudson Valley, Marcuse’s work prompts reflection on our relationship with nature. While traditional landscapes direct our gaze towards vast expanses, Marcuse’s “Woven Nº 33” immerses viewers in a close, immersive experience. The landscape becomes tangible and within reach. Marcuse actively engages with the land, creating a conversation between herself and the environment. As a child, Marcuse never envisioned herself as a fine artist shaping discourse on landscapes. However, her innate talent for storytelling and illusions translates seamlessly into her thought-provoking artwork.
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