Nancy Burson at Museo Marino Marini
An installation of four works in Museo Marino Marini


a sculpture

An Experiential Installation

installazioni video

installazioni video

For info and booking please contact: 
Museo Marino Marini
ore the Festival Firenze Suona Contemporanea





DNA HAS NO COLOR | a sculpture

DNA has no color. Scientists see it as translucent, even though it can sometimes appear whitish due to impurities in samples. Race is a social construct. We are all one race, the human one, and all human DNA is colorless.



Perpetual Mary | An Experiential Installation

Perpetual Mary is a glow-in-the-dark figurine that serves as a tool to see and experience the energy around her. To most viewers, Mary appears to move, assisted by the energy in the room. Attendees will be seated in 20-minute increments. By the end of each 20-minute seating, many people will have seen some aspect of the energy around Mary. Is seeing her move a miracle in itself, or is it seeing the energy around Mary that’s miraculous? Viewers can decide for themselves. Do you see her moving in this still image? Please feel free to download it onto your computer or phone. It takes most people between 5 and 20 seconds to see Mary in motion.


The installation Perpetual Mary will be accessible every 30 minutes by a maximum of 20 people, with first access at 10:30am and last access at 6:30pm. For more information: / 


The Museo Marino Marini is located within the site of an ancient church and was a monastery for nuns in the 1500’s. Perpetual Mary will be installed in the room of the crypt beneath the museum that still houses the nun’s remains. Mother Mary has been a symbolic representation of the feminine aspect for centuries and continues to be a key figure in belief systems worldwide. The installation will be accompanied by the music of two of the earliest European female composers. 

Love Above All Else | video

Love Above All Else is a video projection created from the repeated writing of the word Love (or I love you), drawn both handed for brain balancing. Beneath the images is an underlay of love’s opposite in the form of fourteen photographs combined that symbolize war, racism, poverty, disease, terrorism, global warming, mass shootings, ethnic cleansing, refugees displaced, hurricanes, fires, religious conflicts, family separations, and famine. Together these constitute one disruptive, apocalyptic image that has been lightened to be barely visible, as if the totality of all human suffering is disappearing. Conceptually, the lightening of the image that is barely visible underneath represents the power of love to transmute all that negativity. The Love Above All Else video projection symbolically represents the vibration of love triumphant over Earth’s current malaise.


The Energy of a Drawing in UV Light | a video projection

This video recorded the energy over a drawing made with two graphite sticks (one for each hand) along with a substance of "unknown origin." Something I have seen as a form of "liquid light" has been added to the paper, disappearing instantly. Although scientists have not yet been able to identify its properties, I believe the mysterious form of light used to create the drawing enables us to see the energy moving over it. 






Nancy Burson | photo ©Maggie Shannon

Acclaimed artist/photographer Nancy Burson’s work is shown in museums and galleries internationally. “Seeing and Believing”, her traveling 2002 retrospective originating at the Grey Art Gallery, was nominated for Best Solo Museum Show of the Year in New York City by the International Association of Art Critics. She has served as a visiting professor at Harvard and was a member of the adjunct photography faculty at New York University’s Tisch School of the Arts for five years. Burson currently books events and reviews portfolios for the Photography Department at the New York Film Academy in NYC.

Nancy Burson combined art and innovation in a way that challenged photographic truth at the birth of digital manipulation. She is best known for her pioneering work in morphing technologies which age enhance the human face and still enable law enforcement officials to locate missing children and adults. Her Human Race Machine is still used as an educational diversity tool that provides viewers with the profound visual experience of being another race.

Her work is included in museums worldwide including the MoMA, Metropolitan Museum, and the Whitney Museum in New York City, as well as the Victoria and Albert Museum in London, the Center Georges Pompidou in Paris, the LA County Museum of Art, MoMA (San Francisco), the Museum of Fine Arts in Houston, and the Smithsonian Museum in Washington DC, as well as many others. She has collaborated with Creative Time, the Lower Manhattan Cultural Council, and Deutsche Bank in completing several important public art projects in NYC. These projects include the poster project, “Visualize This” (Creative Time, 1991), the billboard, ‘There’s No Gene For Race” (2000), the poster/postcard project “Focus on Peace”, commissioned for the first anniversary of 9/11, and “Looking Up” and “Truth”, at the 60 Wall St. Atrium, 2005. In the last few years, Burson’s public artworks have been displayed as works projected in light in both the Berlin Festival of Light and the New York Festival of Light.

One of Burson’s images was chosen for Time Magazine’s book: 100 Photographs, The Most Influential Images of All Time. Her work has been featured in all forms of media including segments on Oprah, Good Morning America, CNN, National Public Radio, PBS, and Fuji TV News, as well as countless local TV segments in the USA, Canada and Europe. Prominent articles featuring her work have appeared in The New York Times Magazine, The New York Times, The Baltimore Sun, The Houston Chronicle, and Scientific American Magazine to name a few. There are four monographs of her work and reproductions of it appear in hundreds of art catalogs. It is also widely featured in text books on the history of photography published in all languages. Burson has been awarded grants from the NEA, the National Science Foundation, Anonymous Was A Woman, The Peter Reed Foundation, and CAST (Collaborations in Art, Science and Technology).

Burson’s new TogetherAllOne concepts and designs promote the concept of global unity and encompass everything from interactive children’s books to projected lighting installations and public sculptures. Her fine art photography is available through ClampArt Gallery in NYC, Rose Gallery in LA, and Paci Contemporary in Brescia, Italy.


Acclamata artista e fotografa, le opere di Nancy Burson sono esposte in musei e gallerie a livello internazionale. "Seeing and Believing", la sua retrospettiva itinerante del 2002 originaria della Grey Art Gallery, è stata nominata per il miglior spettacolo del festival del museo di New York dall'associazione internazionale dei critici d'arte. Ha lavorato come visiting professor ad Harvard ed è stata membro della facoltà di fotografia a contratto presso la Tisch School of the Arts della New York University per cinque anni. Attualmente Burson seleziona gli eventi e recensisce i portfolio per il Dipartimento di fotografia della New York Film Academy di New York. Nancy Burson combina arte e innovazione in un modo che ha sfidato la "verità fotografica" prima della nascita della manipolazione digitale. È meglio conosciuta per il suo lavoro pioneristico nelle tecnologie di morphing che invecchiano il volto umano e consentono comunque ai funzionari delle forze dell'ordine di individuare i bambini e gli adulti scomparsi. La sua Human Race Machine è ancora utilizzata come strumento di diversità educativa che fornisce agli spettatori la profonda esperienza visiva di far parte di un'altra razza. Il suo lavoro è esposto nei musei di tutto il mondo tra cui il MoMA, il Metropolitan Museum e il Whitney Museum di New York City, così come il Victoria and Albert Museum di Londra, il Centre Georges Pompidou a Parigi, LA County Museum of Art, MoMA ( San Francisco), il Museum of Fine Arts di Houston e lo Smithsonian Museum di Washington DC, così come molti altri. Ha collaborato con Creative Time, Lower Manhattan Cultural Council e Deutsche Bank nel completamento di importanti progetti di arte pubblica a New York. Questi progetti includono il progetto poster "Visualize This" (Creative Time, 1991), il cartellone "There's No Gene For Race" (2000), il progetto poster / cartolina "Focus on Peace", commissionato per il primo anniversario dell'11 settembre, e "Looking Up" e "Truth", al 60 Wall St. Atrium, 2005. Negli ultimi anni, le opere di Burson sono state esposte come opere proiettate sia nel Festival della Luce di Berlino che nel Nuovo Festival della Luce di York. Una delle immagini di Burson è stata scelta per il libro di Time Magazine: 100 fotografie, le immagini più influenti di tutti i tempi. Il suo lavoro è stato presentato in tutte le forme di media tra cui segmenti su Oprah, Good Morning America, CNN, National Public Radio, PBS e Fuji TV News, oltre a innumerevoli segmenti TV locali negli Stati Uniti, in Canada e in Europa. Gli articoli di spicco del suo lavoro sono apparsi su The New York Times Magazine, The New York Times, The Baltimore Sun, The Houston Chronicle e Scientific American Magazine per nominarne alcuni. Ci sono quattro monografie del suo lavoro e riproduzioni di esso compaiono in centinaia di cataloghi d'arte. È anche ampiamente presente nei libri di testo sulla storia della fotografia pubblicati in tutte le lingue. Burson ha ricevuto sovvenzioni dalla NEA, dalla National Science Foundation, da Anonymous Was A Woman, dalla Peter Reed Foundation e da CAST (Collaborations in Art, Science and Technology). I nuovi concetti e design di Burson, TogetherAllOne, promuovono il concetto di unità globale e comprendono tutto, dai libri per bambini interattivi alle installazioni di illuminazione proiettate e sculture pubbliche. La sua fotografia d'arte è disponibile attraverso la ClampArt Gallery di New York, la Rose Gallery di Los Angeles e la Paci Contemporary di Brescia.


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