MARINA ZURKOW
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
Custom software (color, silent)
Edition of 5, 1 AP
The Breath Eaters 2.0 is an animated, custom software work that visualizes PM2.5 pollutants produced by wildfire and fossil fuel plant emissions. Inspired by a Midjourney image of a world map and presented as a live, generative composition, the work demonstrates how particulate pollution is carried into the high atmosphere and across the globe on currents…
2023
Custom software (color, silent)
In collaboration with James Schmitz
In collaboration with James Schmitz
Commissioned by Visions 2030: Earth Edition for CalArts, 2023
This version of The Breath Eaters (diptych) offers two varying views of the Earth using data. The work addresses human impact on earth systems, fire management practices, and the planetary poetics of wind.
2023
Digital print on rice paper + NFT
35.4 x 59.1 in
Edition of 5 + 2 AP
Made in collaboration with Dall-e
Death 1 and Death 2 were originally commissioned by curator Linda Weintraub for Beyond Death, a special issue in the journal Center for Sustainable Practice in the Arts
Death Work, entirely created with Dall-e, was originally commissioned by curator Linda Weintraub for Beyond Death, a special issue in the journal Center for Sustainable Practice in the Arts
2023
Custom software (color, silent)
Generative, non-interactive
93 editions, 6 artist editions, 1 publisher proof
In collaboration with Ira Greenberg
Oystercraft website design: Pat Shiu
Part of the exhibition “Chain Reaction” on Feral File, curated by Christiane Paul
Created for the online exhibition “Chain Reaction,” curated by Christiane Paul on the Feral File platform.
2023
Risograph printed book, 96 pages.
Published by the Desert Humanities Initiative, Institute for Humanities Research, Arizona State University
Editors: Ron Broglio and Marina Zurkow
Drawings: Marina Zurkow
Contributors: Riley Andrade, Matt Bell, Ron Broglio, Matthew Chew, Jeffrey Cohen, Kelli Larson, Sharon Suzuki-Martinez, Cora McHugh, Kevin McHugh, A.J. Nocek, Jane Rodgers, Rashad Shabazz, Matthew Toro, Julian Yates, 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.”
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
Unpublished article
At this moment of cascading and interconnected crises, a radically different politics is required. our essay is a provocation – part thought experiment, part call to action – that asks: what would it look like to organize a multi-species union?
2022
Custom software (color, silent)
Edition of 5, 1 AP
The Breath Eaters is an animated, custom software work that visualizes PM2.5 pollutants produced by wildfire and fossil fuel plant emissions. Inspired by a Midjourney image of a world map and presented as a live, generative composition, the work demonstrates how particulate pollution is carried into the high atmosphere and across the globe on currents…
2022
Archival print on Tesuki-Washi Echizen
38 x 26 in / 96.5 x 66 cm
Edition of 3
This work is part of the project:
Crucible for condensing and drifting depicts a Monstera leaf, Kaddish cup from Belarus, and original drawings atop NASA imagery of clouds over the Amazon.
2022
Archival print on Tesuki-Washi Echizen
38 x 26 in / 96.5 x 66 cm
Edition of 3
This work is part of the project:
Crucible for crumpling and folding uses NASA’s image Argentina’s Talampya Natural Park, a region known for fossils from the Triassic Period. A stone souvenir from Hampi, India, a dead tick, a Japanese Netsuke rabbit, and a gifted Chinese bowl interface as a mysterious amalgamation on top of the landscape.
2022
Archival print on Tesuki-Washi Echizen
38 x 26 in / 96.5 x 66 cm
Edition of 3
This work is part of the project:
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. Crucible for…
2022
Archival print on Tesuki-Washi Echizen
38 x 26 in / 96.5 x 66 cm
Edition of 3
This work is part of the project:
Crucible for inundating and disintegrating pulls imagery from the 2020 Jiangxi, China floods, yellow microplastics, and a broken porcelain vessel from an original cast of light bulb packaging.
2022
Archival print on Tesuki-Washi Echizen
38 x 26 in / 96.5 x 66 cm
Edition of 3
This work is part of the project:
Crucible for rising, rolling, and looping shows a handmade ceramic pot made by the artist containing a Gasteria “Little Warty” plant juxtaposed in front of NASA imagery of cloud streets forming over the Arctic Barents Sea.
2022
Archival print on Tesuki-Washi Echizen
38 x 26 in / 96.5 x 66 cm
Edition of 3
This work is part of the project:
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. Crucible for…
2022
Archival print on Hahnemuehle Photo Rag Metallic
38 x 26 in / 96.5 x 66 cm
Edition of 3
This work is part of the project:
Crucible for smoldering and igniting pulls imagery from Russia’s “zombie fires”, a nickname for the recent phenomenon where fires have stayed smoldering underground from winters past. A wasp nest and ceramic figurine from Sicily accompany the satellite imagery.
2022
Archival print on Hahnemuehle Photo Rag Metallic
38 x 26 in / 96.5 x 66 cm
Edition of 3
This work is part of the project:
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. Crucible for…
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.