Cry, Landscape

2024

prints in progress
48″x14″

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Death Work (2024)

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

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Underfoot/Overhead (Wasserman Projects)

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

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Desert FeelZ

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.”

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White Line Woodcuts (2023)

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.

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Linocuts (2023)

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.

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Plankto

2022

16″x12″
Letterpress
Variable Edition of 10

Variable edition print produced at Women’s Studio Workshop, Rosendale, New York

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World Wind (bitforms gallery)

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.

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Animal Revolution

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.

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Frog Foot Scroll

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.

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Multispecies Revolution #1

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.

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Post-Pastoral #1

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…

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A Questionable Tale #1

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…

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Closer

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…

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The Crucible Series

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.

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Accretions

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. 

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Mesocosm (Times Square, NY)

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,…

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Mesocosm (Wink, Texas)

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

Add’l animation: Michelle Mayer
Code Design: Veronique Brossier
Occasional Sound: Lem Jay Ignacio

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…

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Necrocracy (project overview)

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…

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Animal Avatars

2010

11″ x 17″ archival pigment prints on Moab Entrada, and Facebook icons

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