- # 1/11, Centers Series
- # 1/11, Centers Series
- # 1/15, Ruth's Song
- # 1/18, Glyphs
- # 10/17, Elán
- # 11/17, Elán
- # 13/17, Elán
- # 17/17, Elán
- # 2/15, Centers Series
- # 2/18, Glyphs
- # 21/17, Glyphs
- # 21/17, Glyphs
- # 21/18, Glyphs
- # 22/17, Elán
- # 23/17, Elán
- # 25/17, Centers
- # 3/18, Elán
- # 5/17, Elán
- # 5/18, Elán
- # 6/14 Phoenix Rising #2
- # 7/17, Elán
- # 8/17, Elán
- # 9/17, Elán
- # 1/20, La Luz Series, 2020
- # 1/21, La Luz Series, 2020
- # 13/20, La Luz Series, 2020
- # 14/20, Mica Mountain, 2020
- # 2/20, La Luz Series, 2020
- # 2/21, La Luz Series, 2020
- # 3/15, Cosmos 3, 2020
- # 3/20, La Luz Series, 2020
- # 30/19, Mica Mountain, 2020
- # 32/19, La Luz Series, 2020
- # 38/19, La Luz Series, 2020
- # 39/19, La Luz Series, 2020
- # 40/19, La Luz Series, 2020
- # 5/14, Centers Series, 2020
- 4-Part Elán Vital, 2020
- Eilee Series #10/21, 2020
- Eilee Series #12/21, 2020
- Eilee Series #8/21, 2020
- Eilee Series #9/21, 2020
- MB 1, 2020
- MB 2, 2020
- MB 3, 2020
- MB 4, 2020
- Saguaro # 1, 2020
- Saguaro # 10/20, 2020
- Saguaro # 2, 2020
- Saguaro # 3, 2020
- Saguaro # 4, 2020
- Saguaro # 6, 2020
- Saguaro # 7, 2020
- Soliphilia Series #5/20, 2020
- Soliphilia Series #6/21, 2020
- Soliphilia Series #8/20, 2020
By assembling natural materials, Marx slows the experience of perceived time insisting that the viewer study each tiny detail of iridescence or fragile edge of calamus.The over-all intensity of these minute elements joined together creates a greater whole. This understanding of the delicate balance of all things is central to Nicki Marx’s artwork. The meticulous constructions made from found and responsibly sourced materials demonstrates a deep relationship with time and space as well as the connection between art, our culture and the natural world.
As a self-taught artist, Nicki Marx has had the freedom to make her own rules and to invent new ways of art-making. Raised to be a wife, mother and achieve a PhD or MD, Marx rejected this conventional lifestyle in favor of living independently as an artist. To support herself, she turned to creating small wearable artworks of abalone and driftwood. However, Nicki Marx knew intuitively that another element was missing from these objects. It was at a sporting goods shop in Santa Fe where the artist discovered little packets of colorful feathers used for tying flies for fishing. At this moment, Marx reported that she had a vision of the world cracking open, and the interior was filled with feathers. In this vision, she saw “people dressed up In fabulous feathers and huge wall hangings of feathers.” To Marx, this was a collective conscious calling and feathers became a language for exploring painting and sculpture with assembled objects.
Nicki Marx is a master conjuror as her artwork is ritualistic, spiritual, and rooted in a desire to celebrate the perfection of nature. In Marx's Center Series, colorful feathers (legally sourced) and Mica chips (quarried by the artist) are materials that are meticulously placed in order to create luxurious images and unique representations of thoughts, the cosmos and/or desires. The hypnotic patterns created by the hundreds of individual elements become a meditative practice on the part of the artist and imparts a sense of wonder for the viewer. These artworks are at once icons or portals to a higher spirit and also explore color field painting, substituting paint strokes with feathers and mark-making with sheer pieces of translucent stone.
As a sculptor, Nicki Marx has turned to the ruined skeletons of Saguaro cactus. Painting these dried natural forms with magnetized black sand, Marx creates a deep matte surface on the outside of desiccated cactus forms that evokes burnt and charred figures. The interiors of the artworks flash bright with brilliant feathers through their apertures reminiscent of a slow volcanic flow or a glimpse of a new life beyond.
The Soliphilia series refers to a concept presented by the environmental philosopher, Glen Albrecht that describes a deep advocacy for the earth that depends on human responsibility and stewardship. These abstract sculptures incorporate a fragility with delicate materials such as sea skeletons, Devil’s Claw, feathers and suede but merged together, these materials support one another and achieve visual strength. By assembling natural materials, Marx slows theexperience of perceived time insisting that the viewer study each tiny detail of iridescence or fragile edge of calamus.The over-all intensity of these minute elements joined together creates a greater whole. This understanding of the delicate balance of all things is central to Nicki Marx’s artwork. The meticulous constructions made from found and responsibly sourced materials demonstrates a deep relationship with time and space as well as the connection between art, our culture and the natural world.
--- Kathleen Cullen, curator, critic and gallerist of 40 years in New York City
My work, in its different facets, is a cry for the environment, for Mother Nature, and a celebratory ritual of our connection to the Earth,” Marx said. “ I feel that I am merely a conduit of earth magic -- through my eyes, heart and hands to my work. It’s a very powerful act and that strength is hopefully reflected in my pieces. -- Nicki Marx
Born and raised in California, Nicki Marx attended University of California-Riverside and University of California-Santa Cruz. She became an early star of the art-to-wear movement in the ’70s and she created, exhibited and sold her pieces nationally. In spite of her wide travels, Nicki Marx kept returning to New Mexico, spending time in Santa Fe and Taos until she moved there permanently in 1985. The self-taught artist began to incorporate feathers into her jewelry when she found a packet of feathers used for fly fishing in a Santa Fe store. The feathers are legally obtained from birds raised for food or pets who shed their feathers. Marx’s name became well known in the artistic circles — Georgia O’Keeffe and Louise Nevelson have owned her work.
Once in Taos, Marx also changed the focus of her work, from wearable art to wall assemblages. Some of these highly detailed pieces were made of feathers, but she also used mixed media and encaustic paint.
“My work, in its different facets, is a cry for the environment, for Mother Nature, and a celebratory ritual of our connection to the Earth,” Marx said. “I feel that I am merely a conduit of earth magic -- through my eyes, heart and hands to my work. It’s a very powerful act and that strength is hopefully reflected in my pieces.”
Marx’s work, both wearable art and wall assemblages, is currently part of many private collections. It is also owned by public collections like The Los Angeles County Museum of Art, the Harwood Museum, the University Art Museum at Arizona State University, the Palm Springs Desert Museum, Stanford University, IBM and Bank of America.
NICKI MARXVirtual Solo Exhibition 30 Oct 2021 - 30 Apr 2022'My work, in its different facets, is a cry for the environment, for Mother Nature, and a celebratory ritual of our connection to the Earth,” Marx said. “ I feel that I am merely a conduit of earth magic -- through my eyes, heart and hands to my work. It’s...
GAMUT: FIVE ARTISTScurated by Kathleen Cullen 31 Aug 2021 - 31 Mar 2022The term 'Gamut' is used to express the means by which the entire range of qualities can be represented. This virtual exhibition presents a variety of contemporary expressions of color, line, form and style through two and three dimensional space. In this show, Anne Hieronymus , Nicki Marx , Bobbie...
Small Standing TallSmall Works by Big Artists 8 May - 5 Jun 2021Cross Contemporary Partners is pleased to present Small Standing Tall, an exhibition of small paintings, prints, photographs and sculpture by 12 mid-career artists. The exhibition is guest curated by Jen Dragon and hosted by the Joyce Goldstein Gallery at 19 Central Square, Chatham, NY with hours Thursday - Sunday 1:00-4:00pm....
Cross Contemporary Partners Inaugural Exhibition Part III26 Mar - 31 Dec 2021Cross Contemporary Partners launches a third group exhibition of artists in a virtual art exhibition space dedicated to digital representation of artwork on the internet. The Cross Contemporary Partners Inaugural Exhibition Part III presents ten established artists whose distinguished careers span decades. The artists: London Amara , Susan Copich ,...
MILLS, Rosie Chambers and TIGERMAN, Bobbye, Editors Beyond Bling: Contemporary Jewelry from the Lois Boardman Collection, with essays by Helen W. Drutt English, and Blake Gopnik, Benjamin Lignel, Rosie Chambers Mills and Bobbye Tigerman. LACMA, 2016
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