Produced for the CONFLUX festival, New York City

On September 20, 2009, we created a large-scale portrait of Rudy Giuliani in Prospect Park, Brooklyn by walking a course of GPS coordinates with a group of participants. The physical space of this urban park necessitated small variations in our planned route, navigating around children playing frisbee, returning stray soccer balls, circumventing sunbathers, and dodging touch football players.

Rudy Giuliani was selected as a subject for his public conflict with the adjacent Brooklyn Museum of Art over Chris Ofili's paintings in the 1999 Sensation exhibition. In referencing this event ten years later, we hope to continue the dialogue of the manner in which public funds are used to support the arts and to make visible Giuliani's unseen presence in the history of the performance site.

Produced for the CONFLUX festival, New York City

On September 20, 2009, we created a large-scale portrait of Rudy Giuliani in Prospect Park, Brooklyn by walking a course of GPS coordinates with a group of participants. The physical space of this urban park necessitated small variations in our planned route, navigating around children playing frisbee, returning stray soccer balls, circumventing sunbathers, and dodging touch football players.

Rudy Giuliani was selected as a subject for his public conflict with the adjacent Brooklyn Museum of Art over Chris Ofili's paintings in the 1999 Sensation exhibition. In referencing this event ten years later, we hope to continue the dialogue of the manner in which public funds are used to support the arts and to make visible Giuliani's unseen presence in the history of the performance site.

Produced for the CONFLUX festival, New York City

On September 20, 2009, we created a large-scale portrait of Rudy Giuliani in Prospect Park, Brooklyn by walking a course of GPS coordinates with a group of participants. The physical space of this urban park necessitated small variations in our planned route, navigating around children playing frisbee, returning stray soccer balls, circumventing sunbathers, and dodging touch football players.

Rudy Giuliani was selected as a subject for his public conflict with the adjacent Brooklyn Museum of Art over Chris Ofili's paintings in the 1999 Sensation exhibition. In referencing this event ten years later, we hope to continue the dialogue of the manner in which public funds are used to support the arts and to make visible Giuliani's unseen presence in the history of the performance site.

Produced for the conference ARTS INTERDISCIPLINAIRES: HI-TECH, LO-TECH, NO-TECH? hosted by RAIQ in Montréal.

On May 28, 2010, we created a large-scale portrait of Céline Dion in Montréal by walking a course of GPS coordinates with a group of participants. Céline Dion was born and spent her childhood in the suburbs of Montréal.

When the US first invaded Iraq in 2003, one of their first tactical actions was to seize Saddam-controlled radio stations to broadcast western music. They played the song “My Heart Will Go On” over and over again, to show that a country that produced such beautiful melodies could not be evil. It is a curious choice for the US Military to select a French Canadian artist as a display of their intentions toward an Iraqi audience. “My Heart Will Go On” is the love theme from Titanic.

Produced for the conference ARTS INTERDISCIPLINAIRES: HI-TECH, LO-TECH, NO-TECH? hosted by RAIQ in Montréal.

On May 28, 2010, we created a large-scale portrait of Céline Dion in Montréal by walking a course of GPS coordinates with a group of participants. Céline Dion was born and spent her childhood in the suburbs of Montréal.

When the US first invaded Iraq in 2003, one of their first tactical actions was to seize Saddam-controlled radio stations to broadcast western music. They played the song “My Heart Will Go On” over and over again, to show that a country that produced such beautiful melodies could not be evil. It is a curious choice for the US Military to select a French Canadian artist as a display of their intentions toward an Iraqi audience. “My Heart Will Go On” is the love theme from Titanic.

Produced for the conference ARTS INTERDISCIPLINAIRES: HI-TECH, LO-TECH, NO-TECH? hosted by RAIQ in Montréal.

On May 28, 2010, we created a large-scale portrait of Céline Dion in Montréal by walking a course of GPS coordinates with a group of participants. Céline Dion was born and spent her childhood in the suburbs of Montréal.

When the US first invaded Iraq in 2003, one of their first tactical actions was to seize Saddam-controlled radio stations to broadcast western music. They played the song “My Heart Will Go On” over and over again, to show that a country that produced such beautiful melodies could not be evil. It is a curious choice for the US Military to select a French Canadian artist as a display of their intentions toward an Iraqi audience. “My Heart Will Go On” is the love theme from Titanic.

Produced for the exhibition CREATED AND FOUND MAPS at the Houston Center for Photography, 2010. Curated by Frazier King.

On September 11, 2010, we created a large-scale portrait of Dick Cheney in Houston, Texas by walking a course of GPS coordinates with a group of participants. For the eight years of his term, Marni's father repeatedly was mistaken for Vice President Dick Cheney. He would come home angry and upset when someone would comment at his striking resemblance to someone whose political beliefs were so far from his own ethos. Yet, he too prospered from the corporate economic boom of the eighties, moving us into a large subdivision owned by one of the major US oil companies, as he moved up the ladder of his Big Six corporation.

Cheney was chairman and CEO of Halliburton Company in Houston from 1995 to 2000, leaving the company to join George W. Bush's presidential ticket. Many scholars assert that Cheney changed the nature of the Vice-Presidency, assuming a more direct role in shaping policy, and in particular, the Bush Administration's pursuit of the "War on Terror" and the definition of torture. As we walk this portrait through the city streets of Houston, we think of the cultural conditions of the country and its urban centers, and the implications of corporate culture on the politics of our country.

Produced for the exhibition CREATED AND FOUND MAPS at the Houston Center for Photography, 2010. Curated by Frazier King.

On September 11, 2010, we created a large-scale portrait of Dick Cheney in Houston, Texas by walking a course of GPS coordinates with a group of participants. For the eight years of his term, Marni's father repeatedly was mistaken for Vice President Dick Cheney. He would come home angry and upset when someone would comment at his striking resemblance to someone whose political beliefs were so far from his own ethos. Yet, he too prospered from the corporate economic boom of the eighties, moving us into a large subdivision owned by one of the major US oil companies, as he moved up the ladder of his Big Six corporation.

Cheney was chairman and CEO of Halliburton Company in Houston from 1995 to 2000, leaving the company to join George W. Bush's presidential ticket. Many scholars assert that Cheney changed the nature of the Vice-Presidency, assuming a more direct role in shaping policy, and in particular, the Bush Administration's pursuit of the "War on Terror" and the definition of torture. As we walk this portrait through the city streets of Houston, we think of the cultural conditions of the country and its urban centers, and the implications of corporate culture on the politics of our country.

Produced for the exhibition CREATED AND FOUND MAPS at the Houston Center for Photography, 2010. Curated by Frazier King.

On September 11, 2010, we created a large-scale portrait of Dick Cheney in Houston, Texas by walking a course of GPS coordinates with a group of participants. For the eight years of his term, Marni's father repeatedly was mistaken for Vice President Dick Cheney. He would come home angry and upset when someone would comment at his striking resemblance to someone whose political beliefs were so far from his own ethos. Yet, he too prospered from the corporate economic boom of the eighties, moving us into a large subdivision owned by one of the major US oil companies, as he moved up the ladder of his Big Six corporation.

Cheney was chairman and CEO of Halliburton Company in Houston from 1995 to 2000, leaving the company to join George W. Bush's presidential ticket. Many scholars assert that Cheney changed the nature of the Vice-Presidency, assuming a more direct role in shaping policy, and in particular, the Bush Administration's pursuit of the "War on Terror" and the definition of torture. As we walk this portrait through the city streets of Houston, we think of the cultural conditions of the country and its urban centers, and the implications of corporate culture on the politics of our country.

Produced for the MEDIA LAB at the 2016 College Art Association Conference. Curated by Natalie Campbell.

On February 6, 2016, we created a large-scale portrait of William Temple Hornaday in the District of Columbia by walking a course of GPS coordinates with a group of participants. As a group, we mapped his unseen presence onto the National Zoo to talk about the history of museum practices and conservation of natural resources.

Hornaday was the chief taxidermist for the US National Museum, which became the Smithsonian. As the extinction of the buffalo neared in 1886, he went west to collect specimens to preserve in the museum, both memorializing and destroying that which he hoped to preserve. He was so moved by the experience that he became a conservationist and that lead to the founding of the National Zoo with live specimens that he brought back. We think of this as a metaphor for our nation, sincere in our efforts but frequently misguided. Connections can be drawn to everything from climate change to foreign policy at this moment in American history.

Produced for the MEDIA LAB at the 2016 College Art Association Conference. Curated by Natalie Campbell.

On February 6, 2016, we created a large-scale portrait of William Temple Hornaday in the District of Columbia by walking a course of GPS coordinates with a group of participants. As a group, we mapped his unseen presence onto the National Zoo to talk about the history of museum practices and conservation of natural resources.

Hornaday was the chief taxidermist for the US National Museum, which became the Smithsonian. As the extinction of the buffalo neared in 1886, he went west to collect specimens to preserve in the museum, both memorializing and destroying that which he hoped to preserve. He was so moved by the experience that he became a conservationist and that lead to the founding of the National Zoo with live specimens that he brought back. We think of this as a metaphor for our nation, sincere in our efforts but frequently misguided. Connections can be drawn to everything from climate change to foreign policy at this moment in American history.

Produced for the MEDIA LAB at the 2016 College Art Association Conference. Curated by Natalie Campbell.

On February 6, 2016, we created a large-scale portrait of William Temple Hornaday in the District of Columbia by walking a course of GPS coordinates with a group of participants. As a group, we mapped his unseen presence onto the National Zoo to talk about the history of museum practices and conservation of natural resources.

Hornaday was the chief taxidermist for the US National Museum, which became the Smithsonian. As the extinction of the buffalo neared in 1886, he went west to collect specimens to preserve in the museum, both memorializing and destroying that which he hoped to preserve. He was so moved by the experience that he became a conservationist and that lead to the founding of the National Zoo with live specimens that he brought back. We think of this as a metaphor for our nation, sincere in our efforts but frequently misguided. Connections can be drawn to everything from climate change to foreign policy at this moment in American history.