Wednesday, October 10, 2012

"White Sands", 2012, oil/gessoed ragboard, 21"-17.5".

Thursday, September 13, 2012

"Lower Depths", 2012, oil/gessoed ragboard, 21"-17.5".

Tuesday, September 11, 2012

"Shadow Play", 2012, oil/gessoed ragboard, 21"-17.5".

Sunday, September 9, 2012

"Joy Ride", 2012, watercolor/gouache, 17"-14". My model was Goya. There is something here about overt, organized smiling that can be chilling. Also James Ensor's work comes to mind.

Thursday, September 6, 2012

"Red Wave", 2011, oil/gessoed ragboard, 21"-17", by Marc Salz. From the "Deluge Series". A deluge may be biblical, environmental or personal. In a deluge all the smaller elements are overwhelmed by water(color).

"Blue Wave", 2012, oil/gessoed ragboard, 21"-17".

"Planet Waves", 2011, oil/gessoed ragboard, 21"-17".

Wednesday, July 11, 2012

"Vessels", 2012, oil/gessoed ragboard, 20"-17".
"Heatwave", 2012, oil/gessoed ragboard, 21"-17.5".

Saturday, June 30, 2012

"Night Fantasy", 1992, oil/masonite panel, 23"-23" by Marc Salz. From 1987 to 1997 I did a series of paintings based on 14th century Sienese triptychs. This painting is dedicated to my former teacher and friend Warren Rohrer and is now in the permanent collection of the Woodmere Art Museum in Chestnut Hill, Philadelphia:
 "Web", 2001, oil/baltic birch, 23"-24" (for Philip Guston). Part of my "Talmudic Abstractions" series. From 2001 to 2004 after completing ten years of my triptych series, I decided to base a new series on the format of the Jewish Talmud with it's central text from the Torah surrounded by commentaries. The series was done in memory of my grandfather, a Torah scribe, and his two daughters, my aunts,  who died in the Holocaust. Because of these paintings, I have been included in the book "The Dictionary of Jewish Painters" by Professor Lucian Regenbogen. The book contains the names of over 1000 Jewish painters including Chagall, Soutine and Rothko. Many of my pieces from the "Talmudic Abstractions" were shown in organizations and synagogues representing the Reform, Conservative and Orthodox(Chabad) movements in Judaism. The Talmud format puts everyone from these groups in agreement. More from this series and the "Triptych Series" may be seen by scrolling through the rest of "The Salzmines".

Tuesday, June 19, 2012

"Emergence", 2011, by Marc Salz, oil/gessoed ragboard, 21"-17".

Sunday, June 17, 2012

"Late Fall", 2010, watercolor/gouache, 17.5"-14".

Wednesday, June 6, 2012

"Free Fall", 2011, watercolor/gouache, 17.5"-14".

Monday, June 4, 2012

"The Eyes Have It", 2010, watercolor/gouache, 17"-14".
"Spring", 2010, watercolor/gouache, 17"-14".

Wednesday, May 23, 2012

"Beasties", 2012, watercolor/gouache, 17.5"-14".

Thursday, May 17, 2012

"Star Gazers", 2011, oil/gessoed ragboard, 21"-17".
"Pond", 2010, oil/gessoed ragboard, 21.5"-17".
"Curtain Call", 2010, oil/gessoed ragboard, 19.5"-17".

Sunday, May 6, 2012

"Portrait of Sam Salz" by Edouard Vuillard, 1939, pastel and gouache, 20"-13.5". From a now out of print Abrams edition on Vuillard. Sam Salz, my father, was Vuillard's principal American dealer. For a fuller scan of this portrait and more on my father, you may go to the blog I created on him:
"Cabinet"(for Vuillard), 2002, oil/baltic birch, 15"-11" by Marc Salz. Dedicated to Edouard Vuillard. I always liked how Vuillard would paint intimate scenes on dark grounds and build up to colored patterns.

“Watt”(for Beckett), 1986, oil/wood, 13”-13”. For novelist and playwright Samuel Beckett.
"Origin"(for Agnes Martin), 2003, oil/baltic birch, 12"-11" from the "Talmudic Abstractions" series.
My mother then known as Marina Franca in a ballet pose for the Ballets Russes de Monte Carlo.

Sunday, April 8, 2012

"Swamp Thing", 2011, oil/baltic birch, 18"-27.5".  One from a series of shaped paintings by Marc Salz.

Sunday, March 18, 2012

“New Toy”(for Monk), 2010, oil/baltic birch, 12”-12”. For jazz musician and composer Thelonious Monk. 
"Jungle Jim", 2010, oil/baltic birch, 24"-22". These are not so much shaped paintings but are more like annoyed and restless rectangles.
"Zim Zum", 2010, oil/baltic birch, 19"-27". A shape that contracts as in the Kabbalah.

"Eve", 2009, oil/baltic birch, 15"-19". Serpents are not necessarily meant as symbols of evil or temptation in some cultures but are also symbols of good.

Thursday, March 15, 2012

"Ping", 1992 (revised 1997, for Ernie Kovacs), oil/ping pong ball/wood, by Marc Salz, 14"-15".
For television comedian Ernie Kovacs.
"Pong", 1992 (revised 1997, for Bill Walton) oil/ping pong ball/wood, 12.5"-12.5". Both of my paintings using ping pong balls were also a response to Jasper John's "Painting with Two Balls" at the Philadelphia Museum of Art.

Tuesday, March 13, 2012

Marina Franca (Marina Salz, my mother) in a costume designed by Henri Matisse for the Ballets Russes production of "Rouge et Noir"(1939) with the music of Dimitri Shostakovich's First Symphony. Matisse had already completed his murals for the Barnes Foundation in Merion, Pennsylvania (1931-33). Those murals were done in the central arches in the main entrance room of the Foundation and gave the artist the idea to repeat them again in his set for the ballet. For more on my parents and Henri Matisse, please go to posts made on June 3, 2010.

Thursday, March 8, 2012

“Fall Scene”, 2010, oil/gessoed ragboard, 20”-17”. 

Tuesday, March 6, 2012

“Shattered, Scattered", 2012, oil/gessoed ragboard, 21"-17". According to the Jewish Kabbalah, the universe was formed through a shattering and scattering

Wednesday, February 22, 2012

My father Sam Salz and Marc Chagall in the early sixties at Chagall's home in the South of France. My father had a gallery In Cologne, Germany in the twenties where he showed and sold Chagall's paintings. One of the them was titled "Birthday" which is now in the collection of the Museum of Modern Art in New York. For more on my father and Marc Chagall, you may go to posts made on March 22, 2011 and December 14, 2009 or to the blog made on him:
"Birthday"by Marc  Chagall. Here is a link to the painting from the provenance department at MoMA:
My father also had Chagall's "Over Vitebsk" which is now also in the Museum:

Sunday, February 19, 2012

 "Tempest", 2011, oil/gessoed ragboard, 20"-17".

Saturday, February 11, 2012

"Golden Game", 2002(revised 2007), oil/baltic birch, 25"-19". From the "Talmudic Abstraction" series by Marc Salz. So many abstract painters have used crosses (Christian) or circles (Asian) in their paintings so I wanted to give the format of the Jewish Talmud it's fair representation. This painting was included in two shows: a group show "Painting Midrash: Abstract art in response to sacred Jewish texts"  at the Borowsky Gallery in Philadelphia(2009) and a one person show at the Society Hill Synagogue(2012). It is dedicated to all the alchemists who used the Kabbalah as their source.

Sunday, February 5, 2012

"Stars and Clouds", 2001, oil/baltic birch, 15"-16". My studio is near the Betsy Ross house home of the "Stars and Stripes". In these different times, these are the "Stars and Clouds".

"Bathers", 2005, oil/baltic birch, 22"-15". From the "Talmudic Abstraction" series.

Sunday, January 29, 2012

"Interlude"(for Jacques Tati), 2009, oil/baltic birch, 19"-19".  From a series of shaped paintings.
My shaped pieces are not only dealing with the sculpture/painting dialogue but are more about the object/subject contradiction that goes back and forth from subject to object. Where does one end and the other begin?
"Sax Play"(for Sonny Rollins), 2008, oil/baltic birch, 12"-20". Dedicated to jazz tenor saxophonist Sonny Rollins. Sonny Rollins playing "Broadway Boogie Woogie" or in the case of Philadelphia "Broad Street Boogie Woogie". This painting is now on the cover of a book of poems on Philadelphia streets titled  "Turnings" by Ernest Yates.
"Ups and Downs", 2007, oil/baltic birch, 17"-17".
"Pinky", 2008, oil/baltic birch, 14"-19".
"Tickle", 2008, oil/baltic birch, 18"-21".
"Busy Bodies", 2007, oil/baltic birch, 14"-18".

Friday, January 27, 2012

My mother Marina Salz in her peacock costume when she danced in Radio City Music Hall, New York, in 1941 under the stage name of Marina Lord. The costume consisted of 827 rare Australian feathers and was 11 ft high and 14 ft wide. It was also equipped in the back with a motor that activated the moving feathers when bending forward. This photo was taken in the studios of "Bruno of Hollywood" in New York. Another photo by Weegee and more explanations can be found in an older post, June 27, 2010. Here are also two links to articles by New York dance critic Tobi Tobias on the Weegee photo: and this coda where I am interviewed about my mother's life as a dancer for the Ballet Russe de Monte Carlo :

Wednesday, January 25, 2012

"Chamber Music" by Marc Salz, 1988, oil/wood, 22"-22". This painting was on my card for my solo show at the Dolan Maxwell Gallery in 1989. It was also taken to the Chicago International Art Exposition by the gallery the same year. From 1987 to 1997, I painted this series based on the format of 14th and 15th century Sienese triptychs. I was also thinking of Duccio and Cimabue as well as Russian icon painters (Andrei Rublev etc.). These artists had an archaic weight in the physical immediacy of their work coupled with an illusion to a lighter spirituality. I was also listening to the modern sacred music of Arvo Part and Igor Stravinsky when I did this series.
"Testimony"(for Dimitri Shostakovich), 1987, oil/wood, 21"-23". The title is from the book on Shostakovich by Solomon Volkov which I was reading at that time. The painting was shown at the Chicago International Art Exposition at the Navy Pier 1989(Dolan Maxwell Gallery) and reproduced in the catalogue for that art fair.