MARINA ZURKOW
Items tagged
Limited Edition Prints
2024-ongoing
Digital collage
Prints on Epson Kozo paper
52″x24″
Edition of 5
Cry, Landscape is a series-as-practice of imagining the sky crying, the land crumbling in a posture of grief. Anthropomorphism-adjacent, I seek to conjure into being other planetary subjectivities, and expressions of sadness by planetary constituents, rather than consider “the world” as indifferent and “resilient.” These images were created using digital collage techniques. They fuse wonder…
2024
Digital print on Kozo Thick 110 gsm paper, 90” x 36”
Made in collaboration with Dall-e2 and Firefly
Commissioned by Wasserman Projects, Detroit
2024
Digital AI prints, generative software works
Software works in collaboration with James Schmitz
Exhibition presented by Wasserman Projects, Detroit, with generous support from the Knight Foundation,
Wasserman Projects (link)
Two-person show with Jasmine Murrell. Curation: Alison Wong Special thanks to Gary Wasserman, Ian Rummell, and John Charnota Photos by PD Rearick, courtesy Wasserman Projects
2023
Risograph printed book, 96 pages. Signed. Edition of 250
Published by the Desert Humanities Initiative, Institute for Humanities Research, Arizona State University
Editors: Ron Broglio and Marina Zurkow
Drawings: Marina Zurkow
Commissioned by the Desert Humanities Initiative, Arizona State University
Desert Humanities (link)
This contemplative field guide is “designed to help orient you to the desert, like yoga poses for being with the land.”
2023
White-line woodcuts
Ink on archival paper
Open edition variable
White-line woodcuts are multicolor images printed from a single block of wood. Also called Provincetown prints, they hover between monoprints and Japanese-style multi-block woodcuts.
2023
Untitled 1 – 6
Linocut, two-color
12 x 9 in / 30.5 x 22.9 cm
Open Edition Variable (OE)
Caligo ink on Yasutomo Sketch
2-color hand-carved linocut prints.
2022
Digital prints, generative software works
Software works in collaboration with James Schmitz
Exhibited at bitforms gallery, New York
bitforms gallery (link)
World Wind is an exhibition featuring artworks by Marina Zurkow and collaborative, generative pieces by Zurkow and James Schmitz.
2022
25 drawings
Charcoal on Legion Stonehenge archival paper
18″x24″
Also available as digital prints
Ron Broglio, author. Illustrations, Marina Zurkow
Commissioned by the author. Published by University of Minnesota Press
Animals are staging a revolution—they’re just not telling us. From radioactive boar invading towns to jellyfish disarming battleships, this book threads together news accounts and more in a powerful and timely work of creative, speculative nonfiction that imagines a revolution stirring and asks how humans can be a part of it.
2022
Digital collage on archival Hahnemühle Bamboo
10 x 50 in / 25.4 x 127 cm
What really goes on in murky streams? An image request of “Japanese scroll painting 1930’s agitprop of a frog eating a man’s foot” would only yield a side-by-side depiction of frog and foot, but not devouring. Zurkow thinks that request must violate the terms of DALL·E 2.
2022
Digital collage on archival Hahnemühle Bamboo
10 x 50 in / 25.4 x 127 cm
In a tribute to Caryl Churchill’s 2000 play “Far Away,” this AI collaboration imagines a world where animals, humans, and machines rise up to battle for an equitable planetary present.
2022
Digital collage on archival Hahnemühle Bamboo
10 x 50 in / 25.4 x 127 cm
This 48” image, influenced by Japanese ink brush scroll paintings, was made using DALL·E 2 to generate a database of unique source material—much like a stack of Life Magazines painstakingly cut and assembled into complex collages. Text requests include calls for 1930’s Japanese scroll paintings and agitprop of “a frog tasting a man’s foot with…
2022
A Questionable Tale (#1)
Digital image
3840 x 2160 px
The process of creating this digital collage with DALL·E , an AI system that generates imagery from language, entails my operating as an Art Director with an aleatory AI system. I direct and push the flow of chance to create surprising outcomes I never could make by hand. Then I act as my own cleanup…
2022
Digital collage on archival Hahnemühle Bamboo
18 x 60 in / 45.7 x 152.4 cm
NFT registration included
Closer is inspired by the play “Far Away” (2000) by Caryl Churchill in which animalarmies have teamed up with human factions. The process of creating this digital collage with DALL·E , an AI system that generates imagery from language, entails my operating as an Art Director with an aleatory AI system. I direct and push…
2022
Eight Archival prints on Tesuki-Washi Echizen
38 x 26 in / 96.5 x 66 cm
Edition of 3 plus 1 AP
The Crucible series urges a conversation between individual and global moments, touching on intimate aspects of this relationship. The porous connection between a lived experience to the far-reaching environment is portrayed through domestic, material manifestations. The artist’s own souvenirs, inherited objects, and hand-built ceramics interface with instances of environmental disaster and geo-planetary disruption.
2016
Silkscreen on found/used cardboard with rubber stamping
14″x14″
Edition of 3
Additionally unique, SP collages on silkscreen
This work is part of the project:
Accretions is a series of silkscreens on repurposed packaging cardboard. These works describe agglomerations of consumer goods: the result of what is bought, shipped globally, and discarded over time.
2014
Software-driven animation. 73-hour year-long cycle (never repeats).
Triptych. Color, animation, sound
Format: Flash player/projector on (intel) MacPro with 3 monitors / projections
Dimensions variable
Animators: Marina Zurkow, Sarah Rothberg
Software Developer: Sam Brenner
Sound: Lem Jay Ignacio and Marina Zurkow
Add’l Software: Yotam Mann
Commissioned by The Museum of Biblical Art, New York
Mesocosm (Times Square, NY) is an algorithmic work that represents the passage of time in a speculative, hybrid Times Square. 12 minutes of real world time elapse in each minute of screen time, one year lasts 73 hours. No cycle is identical to the last, as the appearance and behavior of the human and non-human characters,…
2012
Software-driven animation. 144-hour year-long cycle (never repeats).
Color, animation, sound
Format: Standalone software application on (intel) Mac with monitor / projection
Dimensions variable
Animation in collaboration with Michelle Mayer
Sound in collaboration with Lem Jay Ignacio
Software Developer, Sam Brenner
Original Code Design, Veronique Brossier
Developed through a residency at Diverseworks, Houston, Texas
This work is part of the project:
Spring, Summer, Fall, and WinterFour archival pigment prints on Crane MuseoDimensions 26″ x 44″Available as individual prints, or as a set. Mesocosm (Wink, Texas) is part of an ongoing series of animated landscapes that develop and change over time in response to software-driven data inputs. The title is drawn from the field of environmental science…
2012-2014
Project consisting of videos, dinners, software, sculptures, public art engagements, printed matter
Diverseworks gallery text by John Pluecker
Commissioned by Diversweworks, Houston Texas
Supported by a 2011 John F Simon Guggenheim Fellowship
This work is part of the project:
Necrocracy is a meditation on geology, time, nature and petrochemical production. First exhibited at Diverseworks in Houston, Texas, Necrocracy featured newly commissioned video animation, drawing and sculpture. Questioning the division between the natural and the human inherited from the Romantic era, the works navigate between human manufacturing of petroleum-based products, ecology, and the geological chronology…
2011
Series of twelve letterpress prints on Somerset paper
Individual prints, edition of 10
Set of all twelve prints, edition of 4
Dimensions 18″ x 16″
I was awarded a research residency through ISIS Arts in Newcastle, Northumberland, England in summer 2009. In 2011, I completed a series of letterpress prints, featuring twelve of the predominant invasive species in Northern England, and describing their origins, allies, enemies and victories. Heraldic Crests for Invasive Species leverages a local narrative language of power and conquest….