Marx’s Taos studio walls and shelves were covered with collections of rocks, skulls, feathers, and seeds. The stunning feather wall works, both vintage and newly made, hung on the walls. The space spoke of an inspired shamanistic and reverential connection to nature. Her finished works have a ceremonial feel, exploring how ritual and bodywear can strengthen spiritual connections to the earth. Marx assured me that all of her feathers came from creatures that were farm-raised, and they were all humanely gathered. I bought a dramatic vintage feather collar of white chicken and pheasant feathers dated from 1973 (see vintage photo). When I started to wear it out in LA to art openings or parties, I couldn’t cross a room without being stopped and asked, “What are you wearing?” The buzz had started to build.
In 2014, design and art specialist Gerard O’Brien of Reform Gallery (The Landing Gallery) and I co-curated Marx Rising, a one-woman show of Marx’s vintage and newly made pieces held in Los Angeles. We had beautiful models, nude from the waist up, modeling Marx’s wearable “collars” The show produced a flurry of press that spurred a late-career blossoming of interest in Marx’s work. By 2015, a dozen magazines had featured articles on her story. Famed fashion photographer Philip Dixon hired a model from Paris and captured Marx’s work through his lens (see photo) for the Nartonis Project. Collectors from Dallas, New York, San Francisco, and Los Angeles acquired Marx feather wearables at auctions and from a handful of high-end galleries. You can still spot someone wearing “a Marx” from across a very big room.