My mother Marina Salz (stage name Marina Lord) in a forties publicity photo for Hollywood. This photo was done in the "Bruno of Hollywood" studios in New York. After leaving Les Ballets Russes in 1940, my mother then took the stage name Marina Lord and had a series of photographs taken of her at the New York studios of Bruno of Hollywood. Anthony Bruno moved his studios to New York and was considered one of the 60 essential photographers at that time by American Photographer magazine(along with Richard Avedon, Edward Weston and others). This “Bruno” is not to be confused with the Bruno Bernard of  "Bernard of Hollywood" who took pictures of many of the famous film stars in Hollywood including Marilyn Monroe, Gregory Peck, etc... The photos of my mother represent examples of that long gone style of the forties era.

"Game Plans", 2008-2010, oil/wood, 25"-28". From the "Narrative Abstractions" series by Marc Salz. When he was three years old, our grandson Sammy did an imprint of his hand. This painting done later includes a copy of the imprint and puts it in a game board context.

“The Artist and the Model", 2008-2010, oil/wood, 26"-29.5". For Joan Miro. When I was around fourteen years old, I had the great honor and joy to visit the home of one of the original collectors of Miro’s “Birth Of The World” now in MoMA. I went with my brother and parents to the collector’s home in the South of France, Cagnes sur Mer.  Something that still stays with me until today.

When paintings are worth the price of music: Sam Salz and Vladimir Horowitz.

When I was growing up in our home with my father the art dealer Sam Salz, there was a special small room in the back of the house for playing cards. Many of my father's customers would come and play gin rummy or bridge there. Aside from a card table, the room had a small bar while the walls were lined with photos of the actor Edward G. Robinson, the writer Erich Maria Remarque and other personalities my father knew. Two of the visitors and card players that would come there were the virtuoso pianist Vladimir Horowitz and the choreographer George Balanchine. Horowitz wanted to buy two Impressionist paintings from my father but he could not meet my father's asking price. He also had been losing at bridge so my father decided to make a deal with him: Horowitz could give a free concert for my parents at his apartment and he then could buy the paintings for his lower price. Both my father and mother later went to Horowitz's place and he played for them a concert of Ravel and Debussy. Horowitz ended up with the paintings.

"Earth Tears", 2002, by Marc Salz. oil/wood, 21"-22". From my series “Other Languages”(2001-2005). Dedicated to all immigrants and immigration. 

"Water, Water", 2001, oil/wood. 21"-22". Dedicated to Romanian Jewish poet Paul Celan who survived the Holocaust but ended his life in water. Here is an example of Celan reading a poem in German about the Holocaust: https://www.youtube.com/watch?feature=player_embedded&v=gVwLqEHDCQE
And the English translation: http://mason.gmu.edu/~lsmithg/deathfugue.html

"Trilogy", 1989, oil/wood, 19"-25" by Marc Salz. Between 1987 and 1997, I painted a series of paintings based on the format of the 14th and 15th century Sienese triptychs. These pieces were shown in solo and group shows at the Dolan Maxwell Gallery(1989) and the More Gallery(1991-1995). A few were selected for shows at the Institute of Contemporary Art, Philadelphia(1991) and the Chicago International Art Exposition(1989). The final shows of the series were at the Ganser Gallery at Millersville University(1996) and at the University of the Arts in Philadelphia(1997).