Tanya Marcuse: Woven at the Center for Photography at Woodstock brings together two bodies of work that treat the natural world as both subject and warning. On view from October 3, 2026, through January 17, 2027, the exhibition presents eight key images from Woven: An Ecological Tapestry (2015–2020) alongside Marcuse’s newest series, Deer, which functions as a coda to the earlier project. The show also includes an eleven-minute film made in partnership with Ben Stechshulte, exhibited for the first time, and coincides with the release of Marcuse’s new book, Deer, with an essay by David Campany.
In Woven, Marcuse constructs massive tableaux from natural materials, gathering, composing, painting, burning and transplanting elements over weeks or months. Flowers wither, spiders build webs, and organic matter blooms and decays within scenes that deliberately mix seasons and states: spring growth in autumn landscapes, flowers and animals encased in ice, birds embedded in the earth rather than in flight. These intricately crafted works describe a world in which climate change has unmoored the rhythms of nature, and where abundance is inseparable from precarity and loss.
Marcuse, who began making photographs as a college student at Bard before studying at Oberlin and earning an MFA from Yale, is based in the Hudson Valley and teaches photography at Bard. Her large-scale photographs are held in collections including the Metropolitan Museum of Art, the George Eastman Museum, the San Francisco Museum of Modern Art and the National Gallery of Art. Across her career, she has returned repeatedly to the imperiled natural world, using photography’s capacity for detail and scale to hold beauty and terror in the same frame.
The Deer series extends that inquiry through a more focused lens. At CPW, it appears as one large-format image and a smaller fifteen-print sequence, accompanied by the new film. Together, the works function as a meditation on fragile worlds in the process of being undone. Marcuse does not offer solutions or narratives of redemption. Instead, she creates constructed ecologies in which reverence and grief coexist, inviting viewers to confront the ways flourishing nature and environmental ruin now occupy the same space.
Image: Deer Nº 7084 © Tanya Marcuse
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