Education

1951.      B.F.A., University of Illinois
1952.      M.F.A., University of Illinois
  
Represented by: Trinity Gallery

Exhibitions

2006 Trinity Gallery, Atlanta GA

2003 Trinity Gallery, Atlanta, GA

2000 Trinity Gallery, Atlanta, GA

Davidson Gallery, Seattle, WA

1999.      Udinotti Gallery, Scottsdale, AZ

The Gallery at Gateway, Rochester, NY
   
1998.      Udinotti Gallery, Scottsdale, AZ

Davidson Gallery, Seattle, WA

92nd St. YMCA, New York, NY
    1995.      Davidson Gallery, Seattle, WA
    1993.      Davidson Gallery, Seattle, WA
    1991.      Davidson Gallery, Seattle, WA

Gallery 500, Elkins Park, PA


Collectors


The National Gallery of Art, Washington D.C.

Brooklyn Museum of Art

Butler Institute of American Art

Corcoran Gallery of Art

 Dallas Museum

 Harvard University

 Hirshhorn Museum Library of Congress

 Los Angeles County Museum

 Museum of Modern Art

 Seattle Art Museum

 Whitney Museum of Art


Artist Statement
My people are your people...those individuals around you with whom you make contact every day. They also in their own way personify the human condition.

Like you, I have favorite topics: the arrogance of power, the exclusivity of the institutions of church and state, the abuse of both spouse and child, and our own and othersí personal fears and insecurities. We are all to some degree trapped by subservience to both inward convention and outside oppression. While painful to express, these things desperately need expression.

When we speak to each other, much of what we talk about is universal: our hopes and fears, our foibles, and our moralizing about what is past, present and yet to come.

 I have tried to create my own visual language, based on my artistic ancestors. For example, I build on the work of Picasso, who was the first to dismember the human body to convey futility. So I too use symbols, such as manikins and masks, dangling limbs and puppetry strings, as a kind of visual "shorthand" to portray the forces which frustrate us all.

 I paint not only for myself, but also to make a connection with you.  To facilitate this, I try to paint as elegantly as possible and with an ambiguity that invites your interpretation to join mine. If I am successful, my peoplesí eye contact with you will start our conversation.

Robert Marx