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Watch the complete recording of Tanya Marcuse and Francine Prose in conversation here (2021).
Photography by Tanya Marcuse
Essay by Francine ProseThree hardcover volumes in a slipcase
9.75 x 12.5 inches
216 pages / 90 images
Trade ISBN: 9781942185581 | $70
Signed ISBN: 9798890180575 | $75This book is now RARE | $150
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Tanya Marcuse (b. 1964) began making photographs as an early college student at Bard College at Simon’s Rock. She went on to study Art History and Studio Art at Oberlin and earned her MFA from Yale. Her photographs are in many collections including the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the George Eastman Museum. In 2002, she received a Guggenheim fellowship to pursue her project Undergarments and Armor.
In 2005, she embarked on a three part, fourteen year project, Fruitless | Fallen | Woven, moving from iconic, serial photographs of trees in Fruitless to lush, immersive, allegorical works in Fallen and Woven. The photographs in Woven are as large as 5 x 13 feet. Fueled by the Biblical narrative of the fall from Eden, these related projects use increasingly fantastical imagery and more elaborate methods of construction to explore cycles of growth and decay and the dynamic tension between the passage of time and the photographic medium.
Tanya is a student of martial arts and boxing as a method of cultivating mental and physical concentration and discipline. Tanya’s books include Undergarments and Armor (Nazraeli Press, 2005), Wax Bodies, (Nazraeli Press, 2012) and Fruitless | Fallen | Woven (Radius Press, 2019) and INK (Fall Line Press, 2021). She teaches Photography at Bard College.
Printed on paper made from Japanese shrubs, this work of book art documents artist Ann Hamilton’s fascination with tactility, an exploration into the possibility of cultivating attention in a hyper-distracted world of information.
Throughout her practice, Ann Hamilton has used videos and still images as part of her larger installation works, though they have rarely been the singular focus of a project. This publication brings together vocabulary from four bodies of image-based work produced over the last five years and includes photographic portraits as well as lens-less contact scans of ornithological taxidermy, fabrics and garments, and objects from various personal and institutional collections. Hamilton believes that her projects can be considered not as artifacts or something to be documented, but as their own material object—in this case, a book. While Sense contains images that Hamilton has accumulated over many years, of people and of objects that conflate touch, light, and surface, the book also becomes an object in hand, a thing felt, an artwork in itself.
Reprocessed through multiple printings on tissue Gampi and newsprint, the images emphasize the tactile nature of their substrate and Hamilton’s material hand. The work’s physical presence is reinforced by the textured surface of the book’s pages and scale shifts. This volume thus becomes an art object of its own; repetition, the atmospheric nature of the images’ shallow depths of field, and the intuitive connections made between different bodies of work create an almost film-like cadence that renders the felt qualities of touch.