The two dimensional
Hitchhiker of Sue Marx
seems to be attracted to the three dimensional presence of male sculptures...

...Like this downtown Detroit dandy....
 
 

...or this intellectual heavyweight pondering
the traffic patterns on midtown Woodward Avenue...

...certainly, this upscale group of ivory tower funsters, wet and wild at the
Cranbrook Educational Community...

 

 but her favorite is a little bald guy from the west coast!

Sue Marx got up close and personal with Mr. O.  in 1987 for "Young at Heart", a documentary about an octagenarian love story (that actually masks a personal real life fairy tale of a daughter and her father).

Naturally, she attends the theaters in town.  Peripatetically, she can be spotted at  Detroit's "FOX". In 1988, Ms. Marx filmed "Encore on Woodward", which celebrates the restoration of  this theater in 1988.  Narrated by Bob Hope, the film has been seen on many public television stations.	As past president of  the Cinematic Arts Council, Sue celebrates the twenty fifth anniversary of the Detroit Repetory Film Theater. This attraction which draws over a quarter of the visitors  to the Detroit Institute of Arts produces "Oscar Night America" annually.

Sue invites us into the Wildlife Interpretive Gallery at the Detroit Zoo  to see one of her eight short films about the relationship of humans to animals. She enjoyed working on this project with Michigan's best like
 Tim Allen, Harry Blackstone Jr., Jeff Daniels, Hugh Downs, Julie Harris,
 James Earl Jones,  Leigh Taylor-Young and Robert Wagner.

 

Of course, I - my own personal self -  think Sue's best work is the 1982 film she did for the Michigan Foundation for the Arts.  It's perfect in so many ways!
It is about me.
It's called "Jim Pallas: Electronic Sculptor".
She filmed the major sculptures I was working with at the time: the "Black Wazoo" that eventually ended up in a major private L.A. collection and Barb and Terry Glancy's "Ego Machine."  Also, "The Senate Piece"  which included dear family friends, Barbara and Carl Levin.  She also included the "Century of Light", whose unveiling  inspired a Harbinger Dance Factory  performance.  In those film segments, collaborators on that computerized artwork serendipitously appear:   Rene Vega as the only male dancer and  Randy Mims programming a last minute change.  At the end of the dance, Lydia, my daughter and my wife, Janet, true to life, get the last word!
The film was aired on Detroit's public television and won an Emmy for cultural affairs.
 

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