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Laurence and Ayşe Gürsan-Salzmann collection


Held at: University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts [Contact Us]3420 Walnut Street, Philadelphia, PA 19104-6206

This is a finding aid. It is a description of archival material held at the University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts. Unless otherwise noted, the materials described below are physically available in their reading room, and not digitally available through the web.

Overview and metadata sections

Laurence Salzmann (born 1944) is a photographer and filmmaker from Philadelphia, Pennsylvania whose love of photography began with his first camera, a Brownie Hawkeye, at age eleven. Over the course of his career, he has focused on social commentaries on little known groups in America and abroad, with a particular emphasis on the Jewish people in Eastern Europe and the Middle East.

Son of Eunice Chaiken Salzmann, Salzmann grew up in the 1800 block of Pine Street and was raised by Zenora Carter. His paternal grandparents immigrated to Philadelphia from Romania. He married Ayșe Gürsan-Salzmann, who was born and raised in Istanbul and was trained as an anthropologist at the University of Pennsylvania.

Salzmann graduated from Central High School in Philadelphia in 1960; from Institut des hautes études cinématographiques (IDHEC) in Paris in 1962; and from Temple University in Philadelphia in 1965, with a BA in German literature. He returned to Temple, earning his MA in Anthropology in 1971. Throughout his long career, he exhibited his photographs in both solo and group exhibitions, as well as having his photographs in permanent collections in museums across the globe. He has published more than 15 books, produced more than a dozen films, and received awards and fellowships from as early as 1970, all based upon his photographic oeuvre.

Learning to develop and print photographs from Ruben Goldberg, a photographer at the University of Pennsylvania Museum of Archaeology and Anthropology, Salzmann, who was shy as a child felt that his "camera provided [him] with a voice to communicate with the world and enabled [him] to enter into conversations with people with whom [he] might not otherwise have had spoken," (Biographical sketch). His experience growing up in Philadelphia during the 1950s made him aware of racism and culture and class differences, which affected and inspired his work throughout his career.

At age seventeen, he purchased an Asahi Pentax camera, hitchhiked to Mexico and began his career as a photographer in earnest. His willingness and interest in learning the languages of his subjects and immersing himself in their communities have resulted in photographs that are personal and frankly intimate.

While his home is Philadelphia, over the years, he worked on projects in Juarez, Mexico (1965-1966), New York City (1968-1970), Tlaxcalan, Mexico (1969-1971), Rădăuți, Romania (1974-1976), Jerusalem (1976-1977), Transylvania (1981-1982), Turkey (1984-1989), Lithuania (1994), Cuba (1999-2003), Sierra Norte de Puebla, Mexico (2003-2010), Turkey (2010-2012), Argentina (2015), Windley Key, Florida (2016-2017), and Peru (2016-2018).

According to a biographical sketch at the time of La Baie publicity, "Salzmann's training in anthropology provides him with a theoretical insight into how people adapt to their existing conditions; and with his images, he illustrates people in relation to their environment. Salzmann's photographic method involves long term participation and observation of a group or event."

Salzmann states, "After fifty years, the magic that I felt when I developed my first roll of 620 film is still there. The thrill of making a photograph and then printing it out even if just on a digital printer still fascinates me as much as the first time I saw my print appear in the developer bath," (Biographical sketch)

Ayşe Gürsan-Salzmann, born and raised in İstanbul, was trained as an anthropologist at the University of Pennsylvania. She and Salzmann met in Salzmann's visual anthropology workshop at Temple University and he joined her in Mexico to photograph her study of women and markets. According to the Penn Gazette, this was the beginning of "a collaboration that continues to this day, both in the field and on the page, where Gürsan-Salzmann's writing often complements Salzmann's photographs." Gürsan-Salzmann is a consulting scholar in Penn's Museum's Mediterranean section, a member of the Gordion Archaeological Project, a member of the Gordion Archaeological Project, and the director of the Gordion Cultural Heritage Program. She has worked in Turkey and in Iran.

This collection contains a significant portion of the photographic output from Laurence Salzmann's long career in documenting little known communities throughout the world. Researchers will find black and white and color photographs dating from 1967 to 2018; as well as other photographic, book, and film project documentation, such as book mock ups, exhibition publicity and planning, and biographical sketches of subjects of photographs.

In addition to the physical prints, Salzmann also gifted digital copies of some of his prints which are available here. Researchers should also consult Salzmann's website as there are photographs on Salzmann's site that were not part of the gift to the University of Pennsylvania.

This collection is arranged in two series: I. Photo, film and book projects; and II. Collected photographs and material. The bulk of the collection is contained in Series I, which is divided into 27 alphabetically arranged projects. For the most part, these projects are described at the project level, using Salzmann's own descriptions whenever possible, and contain photographic prints. Some, but not all, also contain contact sheets, book mock-ups/plans/proposals, and/or exhibition plans/proposals/publicity. Ayşe Gürsan-Salzmann collaborated with with Laurence Salzmann on projects in Mexico, Romania and Turkey.

Projects include: Aegean Stones, Bagels, La Baie/Bath Scenes, Cardon Cactus, City/2, Diamonds, Échele Ganas (Do Your Best): A Life Left Behind, "Every Land is Full of Thee, And Every Sea:" Images of the Jewish Diaspora, Face to Face: Encounters Between Jews and Blacks, Gordion Dogs, Imaging Cutumba, Jerusalem's People in Public, The Last Jews of Rădăuți, Lithuanian Memories, La Lucha/The Struggle, Luis Family, Mioritza, Misk'i Kachi Sal Dulce, Neighbors on the Block, Peru, Rădăuți Youth, Single Room Occupancy, Souvenirs of a Recent Time, Tlaxcalan Sketches, Turkey's Jews, Vents, and Windley Key. There is some overlap between projects--particularly between La Baie/Bath Scenes, The Last Jews of Rădăuți, Mioritza, Rădăuți Youth, and Souvenirs of a Recent Time; as well as Neighbors and on the Block which is a selected group of images from the project Single Room Occupancy.

Series II. Collected photographs and materials includes only a few items, including images of art not created by Salzmann and largely from the Jewish Museum of Greece, business cards, and a number of historic wedding photographs from Romania. These wedding photographs, called Mircea Juga, document dozens of couples wearing traditional dress and are professional cartes-de-visite.

Taken as a whole, this collection provides glimpses into a number of worlds not typically documented--immigrants, the poor, shepherds, and changing or vanishing communities. In addition, the viewpoint of the photographer, Laurence Salzmann, is evident, providing insight into the man behind the images.

Gift of Laurence and Ayșe Salzmann, 2018.

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Finding Aid Author
Holly Mengel; rehousing performed by Donna Brandolisio
Finding Aid Date
2020 March 11
Access Restrictions

This collection is open for research use.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Collection Inventory

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Scope and Contents

Aegean Stones (also called Aegean Blue) documents a seascape in western Turkey. According to Salzmann, "through the refraction of light and by forces of nature gentle winds, and movements of variegated fish these forms are transformed. Each moment brings a new abstract portrait of the living organisms, as they interact with each other."

Salzmann further states that the Aegean Blue series was inspired by questions of transience of life that one begins to contemplate when having reached a certain age or experienced a death [which he, himself has contemplated]. As a result, for Salzmann, "the Aegean Blue become in a sense a metaphor for ourselves as they represent in their continual transformation our own lives which each day are modified by the time clocks tied to our own DNA that determines like the wind and waters that wash over these underwater rocks how we change as we move along the life line that each of us has. Each day the cool waters that wash these stones and the schools of small fish that pass them by furtively blowing kisses creates still a further patina of change and transformation. These stories are revealed in the imagination of those viewing the finished photographs. Time tells all. What you see is what you imagine and therein lies the beauty of this new work."

Most of the photographic prints are signed and many have a number that corresponds to the image numbers recorded in Aegean Blue: a limited print edition of large format archival pigment prints. These photographs are all color, 6 x 9 inch images printed on 8.5 x 11 inch paper.

Photographic prints, 2012-2014.
Box 1 Folder 1-28
Scope and Contents

The Bagels series of photographs appear to have been samples for a proposed photographic book, which Salzmann anticipated would include both text and images that would be "as visually exciting to the eye, as the taste and smell of a freshly baked bagel is to the palate," (box 1, folder 29). In his prospectus, Salzmann describes his vision for the project, including ideas for both the history of the bagel as well as images of the "bagel not just as a realistic, round form, but as a man-made abstract form."

The black and white photographs in the series include images of uncooked bagels being formed, on trays, and cooking in vats; bagels baking in ovens; and finished bagels in storefronts. There are also images of signs for bagels ("Hot Bagels," for example) and a worker with a tee-shirt advertising "Brooklyn Bagels are the Greatest."

These photographs are all black and white, 6 x 9 inch images printed on 8 x 10 inch paper.

Book prospectus, 1983 January 27.
Box 1 Folder 29
Photographic prints, 1983.
Box 1 Folder 30-43
Scope and Contents

La Baie/Bath Scenes were photographs taken by Salzman when he lived in Rădăuți, in northeastern Romania from 1975 to 1976. While there, Salzmann focused on photographing what remained of Jewish life (and these photographs are closely linked to his in-depth photographic essay entitled "The last Jews of Rădăuți"). Salzmann states that "the baths, a vital part of the community life, were owned by the Jewish community and were used by both the Jews and the Romanians [and Salzmann went] mainly to photograph things of Jewish interest—the Mikveh, a traditional religious bath—and the Jewish men and women working there." The bath house was more than 100 years old in a town where running water was not common resulting in it being so heavily used that "people were literally sitting on top of each other."

Salzmann describes the process: the men filled their buckets with cold water as they walked into the steam room (arbur) where there were rows of wooden benches as in an amphitheater, the highest row being the hottest. As the steam became unbearable, the bucket of cold water was used to refresh the face and cool off. A bath attendant monitored the steam, throwing cups of cold water over red hot stones found in a floor-to-ceiling stove. As the room began to cool, the men would beat each other on the backs with clusters of oak leaves (an ancient custom) which they brought with them in order to refresh the skin and leave a sweet smell. Showers in the shower room were sometimes followed by another session in the steam bath. Salzmann states that "the bathing process was a ritual; one met the same men week after week; joking around, telling stories to each other. It seemed that in the bath, the problems of the outside world were all washed away."

All photographs are black and white, largely 6 x 9 inch images printed on 8 x 10 inch papers; however, there are also a few 5 x 7 inch images printed on paper ranging in size from 5 x 7 inches, 5 x 8 inches, and 7 x 9.25 inches. For the most part, photographs document male bathers, but researchers will also find a few images of people outside the bathhouse, a photograph of a man who appears to be an attendant in the bathhouse, a photograph of a man with oak leaves, and a self-portrait of Salzmann.

Book cover and dust jacket mock ups, undated.
Box 9 Folder 1
Book introduction, typescript, circa 1979-1980.
Box 16 Folder 3
Book press release, 1980 August.
Box 16 Folder 4
Copyright correspondence and related material, 1978-1980.
Box 16 Folder 1
General information relating to publishing photograph books, circa 1979.
Box 16 Folder 5
Photographic prints, 1974-1976.
Box 1 Folder 44-93
Printers' estimates, 1979.
Box 16 Folder 2
Scope and Contents

Salzmann provides very little description of these photographs of Cardon cacti which were probably taken in northern Argentina near Tilcara in 2015. Cardon cactus (Pachycereus pringlei) are largely found in Mexico and California. It is possible that Salzmann took photographs of Cardon cactus on multiple occasions--perhaps in or before 2015 when he put together a photograph book.

These color images include landscape as well as close up shots. All images are 6.5 x 8.5 inches printed on a variety of papers that measure 8.5 x 11 inches.

Photographic prints, 2015.
Box 1 Folder 94-102
Scope and Contents

City/2 photographs, taken around 1971, document people interacting in Philadelphia's city parks, street corners, sidewalk cafes, and other venues. Salzmann stated, "I noted people passing each other in the vast public spaces with hardly a nod of recognition. Jane Jacob's metaphor 'ballet of the streets' that referred to people's close encounters in public, and Goffman's idea of tacit rules of conduct lingered in the back of my mind. People seemed to meet but did not acknowledge each other's presence. Was it a cultural phenomenon or the repressive social/political climate of the 1970s? The Vietnam war, racial unrest, the vigilant FBI, city's civil disobedience squads-- keeping an eye on things."

Over the years, Salzmann continued his observations of "people in public across racial lines in Philadelphia, separation and interactions between black and white populations [and he feels] that the separation is as visible and tangible today as it had been through the 1970s, '80s and even the '90s."

These photographs, commissioned by the American Institute of Architects, were first shown at the Philadelphia Museum of Art in 1971 as part of a larger exhibit of the public's use of space in the city. This theme was borrowed from an idea of the late Louis Kahn, the eminent Philadelphia architect who stated that, in any given city, half of its space was more or less public and that those spaces could be envisioned as extra living rooms for the public-at-large in which to enjoy.

Images are black and white. Images in box 1 are largely 6 x 9 inches printed on 8 x 10 inch paper; while photographs in box 9 are black and white 9 x 14 inch images printed on 13 x 19 inch paper.

Photographic prints (black and white), 1971.
Box 1 Folder 103-110
Photographic prints (black and white), 1971.
Box 9 Folder 2-16
Scope and Contents

Diamonds photographs, also called "Transitory Diamonds," "examine the transitory nature of materials/objects in the environment, using the geometric rhombus as a "diamond shape" to reframe the image. This shape provides centrality to the image within its frame."

In an artist statement, dated May 26, 2015, Salzmann writes, "As time goes on, I have become increasingly aware of the passage of time and the brevity of life. The "Transitory Diamonds" series reflects my fascination with changes in my perception of the reality of my immediate environment. Nature works in such ways that she creates her own works of art. The ordinary can appear spectacularly different when the image transcends its reality ..."Transitory Diamonds" builds on my exploration of making images of materials/objects that can be perceived or interpreted on closer examination as a familiar entity. For example, a crack in the pavement can be perceived as transformed into the image of a bird or other animate or inanimate object. In addition to creating "transformed" perceptions of objects, I have been experimenting with the convergence of light and shadows to create harmony with their surroundings."

These photograph appear to have been taken between 2014 and 2018 in at least California, Peru and Philadelphia; and cropped into the shape of diamonds. The subjects of the photographs (prior to cropping) include shadows, streets, floors, gardens, construction work on historic structures, the seasons, seaweed, litter, plants, and paint buckets, perhaps showing the fragmented, broken, or ordinary in a new light. Salzmann photographed urban and nature scenes, and, to a very limited degree, animals in the nature scenes. He also photographed mosaics by I. Zagar.

In a career summary, Salzmann states, "The 'Transitory Diamond' project allows me to continue my path of photographic career in exploring a new artistic vision of creating abstract images which are transformed in the eye of the beholder."

The majority of these photographs are in color; however, there are some that are black and white. The images are printed on a variety of 8.5 x 11 inch papers. The images are frequently, but not always cropped into a diamond shape. These prints are signed and sometimes dated.

Photographic prints, 2014-2018.
Box 1 Folder 111-171
Scope and Contents

Échele Ganas: Do Your Best photographs and documentary video explore the role remittances play in the economic life of Sierra Norte de Puebla, Mexico. According to his project statement, Salzmann described Échele Ganas as a documentary that addresses the perpetual drive of immigrant ambition, in this case, of Mexican immigrants, who have left their villages to seek work in support of their families and communities.

This project which included both photographs and video was inspired by Salzmann's own experience with Mexican workers he hired in Philadelphia and whose skills, work ethic, and close and supportive social connections to each other Salzmann admired and made him wonder "who were these Mexican workers … where did they come from, what had they left behind to come here, and why had they done so?"

In order for Salzmann to explore these questions, he visited the families in La Sierra de Norte, Puebla State, Mexico on five occasions over a six year period, learning that the workers left their homes for economic reasons and planned to send money home to their families. During his trips, Salzmann visited the homes, workshops, and stores which had been built with the money sent home by the workers and interviewed many of their relatives. Although struggling financially, the inhabitants of Sierra de Norte "are still celebrating a rich set of cultural activities—wedding, saints' day celebrations, faenas (community work events), first communions, all of which make up an integral part of their existence."

Salzmann states that "on one level, "Échele Ganas: A Life Left Behind" is a cultural model of a rural Mexican community that informs the American public about who these "immigrants" are, or who they were before they left home in search of economically satisfying opportunities in the North. On another, it shows the workers' sense of Mexican cultural identity, their pride in still being part of their community (which is enhanced when I show them the photographs and film clips of their families and community celebrations, and messages sent to them by their loved ones). It shows, too, the ways in which their communities are changing, often as a direct result of the financial aid they are able to send to their families."

Prints in box 1 are all color prints and are largely square images, some of which are printed on 8.5 x 11 inch paper. Only some are signed and dated. The photographic prints in box 9 are also in color and are various sized images printed on 9 x 13 inch paper or canvas.

Exhibit at Remis Sculpture Court, brochure (in English and Spanish), 2010 September 10-December 19.
Box 1 Folder 172
Photographic prints, 2004-2007.
Box 1 Folder 173-216
Photographic prints, 2004-2008.
Box 9 Folder 18-29
Dust jacket proof/mock up, 2012.
Box 9 Folder 17
Exhibit poster, 2009.
Box 9 Folder 30
Reception invitations and press, 2009.
Box 16 Folder 6
Scope and Contents

Face-to-Face: Encounters between Jews & Blacks explores with photographs and text the nature of interracial relations with the intention of raising public consciousness about this issue. In Salzmann's words, the work questions the divided and divisive nature of American society, where Blacks and Whites live in two very different worlds with shared borders. This entrenched practice of separation and exclusion helps to create the many problems confronting our society today. Face-to-Face: Encounters between Jews & Blacks is intended to provide ways for Americans to understand each other better by providing a chance for all us to listen and experience our differences in ways which lead to understanding.

This series of photographs grew out of a collaboration called Bridges and Boundaries, between the museums of American Jewish History and African American History. The show provided a historical overview of the relationship between Blacks and Jews. The two institutions believed the project needed a local component. Therefore, they hired Salzmann to gather stories and images from Philadelphia's Black and Jewish populations. Each group discussed their experiences and perceptions of the other.

On his website, Salzmann stated, "I used photo-text to explore and come to grips with my own racism, which I found to be increasing day by day. I found myself connecting my own personal experiences with crime to the negative images of Black men consistently perpetuated by the media. It seems that Blacks and Jews still subscribe to stereotypes and misperceptions about one another, ignoring the real dilemmas in their relationships. I set out on a journey of exploration, not to foreign lands, but to people living in diverse corners of Philadelphia with whom I had never had an opportunity to speak, to find answers to my questions."

Some 50 people were interviewed for Face-to-Face: Encounters between Jews & Blacks. This project was supported by the Rex Foundation, Memorial Foundation for Jewish Culture, Peter Kovler Foundation, Strick Foundation, Philadelphia Foundation, and the Museums of American Jewish History and the Afro-American History and Culture.

This series includes both black and white and color photographic prints. The black and white photographs (box 1, folders 217-264) are largely 7 inch square images printed on 8 x 10 inch paper. Some of the photographs are either stamped or signed. Occasionally, the subjects of the photographs are identified (sometimes Salzmann identified but his handwriting is illegible) and those individuals include: Lynne Abraham, Kofi Asante, David Auspitz, Will "Junior" Baker (of Bakers Pickles), Leon Bass, Esther Burday, Lenora E. Berson, [Jorlenda] and Beatrice [Codeet], Kimberly [Creaver], Anvar Hazam Azim El, Lana Felton-Ghee, Leslie, Steven, and Harry Field, Reuben Greenberg, Laurie [Guinier], Zachary Marcus Cesare Harris, [Eden] Jacobowitz, Patricia Jones, Miriam Mednick, Philip Miller, Elenor Myers, Larry Pitt, Erwin Reid, Marilyn Rivers, Larry Robin, Mordechai Rosenstein, Tyrone Sabir, Daniel Schwartz, Muriel Spence, Nikki Taylor, [Sarita] Taylor, Rabbi Bryan Walt, and George Weiss. Many of these images are casual portraits, but some document the subjects at work (barber, bookseller, cook, teacher, etc.), in acts of protest ("Grays Ferry Residents Marching in Unity" and "E. McClintock Murdered"), and at worship.

The color photographs (box 1, folders 265-285) are 5 inch square photographs and all but one are mounted to a firm backing. These photographs are largely signed and captioned. Photographs were taken of the Beachcomber Community Jewish Swim Club near Blue Bell, Pennsylvania; Sukkot at Main Line Reform Temple in Wynnewood, Pennsylvania; an outdoor theater at 4th and Lombard in Philadelphia, Pennsylvania; a block party in Germantown, Philadelphia, Pennsylvania, and at Kaplan Bakery.

Book cover and page paste ups, 1994-1995.
Box 16 Folder 8-32
Contact sheets (black and white, using TX 6043 film [120]).
Box 2 Folder 1-70
Exhibition announcement and brochure mock ups, circa 1994.
Box 16 Folder 7
Photographic prints (black and white).
Box 1 Folder 217-264
Photographic prints (color).
Box 1 Folder 265-285
Scope and Contents

Gordion Dogs is a project with juxtaposing images of an Anatolian Sheep dog living in Philadelphia with the life of his cousins who remained in a village in central Turkey. These images appear to combine images of work at the Gordion excavation site with photographs of Salzmann's Gordion-born Anatolian Sheep Dog, Garip.

Salzmann provides very little description of these photographs which appear to have been taken circa 1982; but it appears to have been publicized in 2009 in a produced work called "Garip at Gordion."

The prints in box 2, folders 71-82 are color images in a variety of sizes (5 x 7.5 inch, 6 inch square, 6 x 8 inch, 7 x 9 inch, and 7 x 10 inch). Only one is signed and two have printed captions on the image: "The Dog As Art" and "Garip Waiting for Godot." There are also black and white and color images (box 9, folders 31-40) in various sizes printed on 11 x 17 inch paper.

Photographic prints (color), circa 1982.
Box 2 Folder 71-82
Photographic prints (black and white and color), circa 2010 .
Box 9 Folder 31-40
Scope and Contents

The Ballet Folkórico Cutumba is one of Cuba's oldest and most highly respected folkloric dance companies. Cutumba's progenitor, the Grupo Folkórico del Oriente, was founded in the year of the Revolution, 1959, and embodied the new mission of culture in the new Cuba: to preserve and celebrate the people's culture. Cutumba is based in the provincial capital city of Santiago de Cuba. Its repertoire specializes in traditions unique to the Oriente.

According to Salzmann's website, the "photographs of the Ballet Folkórico Cutumba, Imagining Cutumba, give a unique, highly individual window into life in late-Socialist Cuba. [The] rich, smoky images are fantasies of light and movement that do not immediately locate themselves on an imagined, sunny Caribbean island that is already the tantalizing subject of so many American fantasies. Salzmann beckons us to a fresh encounter with Cuban culture. These photographs are also ethnographic, although not in the usual way and not on the surface. In presenting an exotic subject, the collection necessarily raises questions about representing Otherness."

These photographs, taken in Santiago de Cuba, Cuba, were shown during El Festival Cubano 2002 in Philadelphia.

Photographic prints are both black and white and color and there are a variety of images sizes printed on a variety of paper types and sizes. Some, but not all, are signed or stamped and dated. Researchers will also find slides and a number of transparencies.

Announcements for El Festival Cubano, circa 2002.
Box 2 Folder 83-86
Photographic prints (black and white), 2001-2003.
Box 2 Folder 87-105
Photographic prints (black and white and color images), 2001.
Box 10 Folder 3-21
Photographic prints (color), 1999-2003.
Box 2 Folder 106-121
Photographic prints, 2001-2002.
Box 16 Folder 33-38
Slides, 2001-2003.
Box 2 Folder 122
Transparencies, 2001.
Box 2 Folder 123-124
Transparencies, 2004.
Box 10 Folder 1-2
Scope and Contents

Salzmann spent a year in Israel, and more specifically in Jerusalem, while preparing his exhibit, The Last Jews of Rădăuţi, at the Beth Hatefutosth Museum. While in Jerusalem, Salzmann lived at 38 Hanavim Street, (street of the Prophets), in a building owned by The Ethiopian Christian Community of Jerusalem, which was a five-minute walk to the old City of Jerusalem and on the edge of the ultra-Orthodox Mea Shearim quarter. Salzmann started to photograph people he encountered on the streets of Jerusalem. Salzmann, aware of societal divides (from previous experience in Philadelphia with his City/2 project), found that, in Jerusalem, the divide was between the very religious, Jews, Arabs and Christians—all of whom lived in worlds of their own. Like the blacks and whites in Philadelphia, the inhabitants of Jerusalem shared the common public spaces of their city, which was where Salzmann photographed them.

All the photographic prints are black and white. The majority are 5.5 x 8.25 inch images printed on 7 x 9.5 inch paper or various sized images printed on 11 x 14 inch paper. Some, but not all, images are stamped and/or signed.

Photographic portfolio, printed, 1978.
Box 16 Folder 41
Photographic prints (black and white), 1976-1977.
Box 2 Folder 125-171
Photographic prints (black and white), 1976-1977.
Box 10 Folder 22-26
Photographic prints (black and white), 1976-1977.
Box 16 Folder 39-40
Scope and Contents

This project consists of a photographic essay and film (Song of Rădăuţi) documenting Jewish life in northeastern Romania.

In the late 1930s, 8,000 Jews lived in Rădăuţi (RA-da-uts), a small town in the Bukovina region of Romania. They were shopkeepers and tradesmen--shoemakers, barbers, hat makers, tailors, jewelers--a vital community spanning several generations. They considered themselves Jews first and Romanians second. Six thousand Romanian Jews perished during World War II; some died in concentration camps in Transnistria, but most did not survive the initial hardships of deportation. At the end of the war, a few returned, only to find their homes gone and the life they had known swept away.

From 1974 to 1976, Salzmann lived in Rădăuţi to document this diminishing community's way of life. At the time that Salzmann and his wife Ayşe went to Rădăuţi on a Fulbright Fellowship (Fulbright-Hays Grant), there were only two hundred and forty Jews among the entire population of twenty-two thousand. Most of them were old people; many of those who were younger were preparing to emigrate to Israel. The Jews took the Salzmanns into their homes; told them the stories of their lives; and their struggles to begin again. The Salzmanns visited them in their shops; went to their bar mitzvahs, weddings, and funerals; and saw the departure of their young.

The Last Jews of Radauti is intended to make a powerfully enduring statement about a vanishing culture by illuminating the lives of the small number of Eastern European Jews who survived the Holocaust and went home. These photographs were first shown at the International Center of Photography in 1978, and its director, Cornell Capa, hailed them as "a unique record ... of great historical significance." Since then, these photographs have been shown at Beth Hatefutsoth Museum of the Jewish Diaspora in Tel Aviv and at many American universities, colleges, and Jewish community centers throughout the United States.

A film on the same subject entitled "Song of Rădăuţi," depicting some aspects of the Jewish community life, is also an integral part of this work. The Salzmanns spent much of 1982 in Romania, doing research for another project.

A much fuller description of the history of Rădăuţi can be found in the forward of Salzmann's book, The Last Jews of Rădăuţi, published by Dial/Doubleday in 1983, with text by Ayse Gürsan-Salzmann. In 2013, Salzmann published Remembering Rădăuţi, which followed the death of Dorin Frankel, the last Jewish person living in the town, in 2012. Other photographic projects related to this one are La Baie/Bath Scenes, Rădăuți Youth, and Mioritza.

Photographic prints found in box 2 are all black and white and all but one are 6 x 8.5 inch images printed on 8 x 10 inch paper. They are signed and stamped and some identify the subjects of the images. Families appearing in more than one photograph are the Kamer, Kamiel, Kern, Roth, Weinstein, and Zwecker families. Photographs are largely casual portraits of individuals and families working, marrying, mourning, and worshipping. Of interest in these photographs is the importance of the family heritage with several photographs of people with family photographs.

Photographic prints in box 11 are all black and white and generally images are 8.5 x 13 inches and are attached to backing that measures 12 x 18 inches. These larger prints include extensive notes and are all signed and stamped. In addition to the photographic prints, researchers will also find Salzmann's book in various stages of completion, biographical research and sketches on the people of Rădăuţi, both of which provide context to the photographs.

Biographies, 1979-1980.
Box 17 Folder 2
Book-related correspondence and contracts (including letters to and from multiple publishers, Dial Press, Marion Stone, and Elie Wiesel), 1974-1983.
Box 16 Folder 43-45
Book mock-ups, 1979.
Box 18 Folder 2-3
Book outlines and typescripts of written content, 1979-1980.
Box 17 Folder 8
Book paste-ups of photographs, 1979.
Box 17 Folder 9-15
Book paste-ups of text, 1979.
Box 17 Folder 16-17
Book paste-ups of photographs, 1979.
Box 18 Folder 1
Book typescripts of chapters, introduction, etc., 1974-1979.
Box 17 Folder 6-7
Caption cards, 1974-1976.
Box 17 Folder 3
Journal containing Salzmann's notes on portraits and biographical sketches, circa 1974-1979.
Box 16 Folder 46
Journal containing Salzmann's notes on portraits and biographical sketches, circa 1974-1979.
Box 17 Folder 1
Maps, 1974-1976.
Box 17 Folder 4
Poems (in Yiddish with some English translations), 1982.
Box 17 Folder 5
Photographic prints (black and white), 1974-1976.
Box 2 Folder 172-314
Photographic prints (black and white), 1974-1980.
Box 11 Folder 1-15
Photographic print (black and white), 1974-1976.
Box 16 Folder 42
Box 18 Folder 4
Press and publicity, 1978-1994.
Box 18 Folder 5
Research: Pirke Avot (in Hebrew and Romanian), undated.
Box 18 Folder 6
Research: Travel guide of Rădăuți, 1970.
Box 18 Folder 7
Scope and Contents

Lithuanian Memories explores the existing communities of Jews in what was once the heartland of Yiddishkeit, challenging the view of most American Jews that the old country ("di alte heym") exists only in memory, having been erased by Hitler or Stalin. This, in juxtaposition with the Last Jews of Rădăuţi, provides a more positive outcome for Jewish communities following World War II.

Since the Soviet collapse, Jews in the newly independent Eastern European nations such as Lithuania now have the opportunities to organize, create schools and cultural organizations, and strive for justice. Former communal buildings are returned to Jewish use and cemeteries and monuments to the Shoah's victims are restored and maintained.

According to Salzmann, "just short of complete extinction, [Jews in Eastern Europe] are still holding on, bearing witness to what [they] all have lost in the tragic and devastating last century." As such, his work includes stories of those survivors.

This photo-text documentation (also called Lithuania: A look back) of Lithunian Jewish life was supported by the Kulturamt Prenzlauer Berg, Berlin and the senate of the city of Berlin.

The prints in boxes 3 and 4 are all black and white. Nine prints have 3.5 inch square images printed on 5 x 7 inch paper; the great majority of prints have 7.75 inch square images printed on 8 x 10 inch paper. Subjects of the photographs are frequently identified by Salzmann and many of them contain biographical sketches. Researchers will find photographs and biographical sketches of Kopelis (Costa) Belas, Irina Beliene, Esfir Bramson, Jakovas (Joselis)[ Bunka, Rafael Genys, Julia Gadeikyte, Rafael Gerrys, Jocheved Inciuriene, Szmuel Kapinsky, Zilla (Cilia) Klabin, Rachilé Kostanian, Josef Levinson, Leiba Lipschitz, Violeta Palcinskaite, Judel (Judah) Ronder, Josifas Shapiro, Antanina Vaicieniene, and Naomi Zubuc. There are other subjects who are not identified. Most of the photographs have Salzmann's stamp on the verso.

Prints in box 11 are either 10.5 inch square images printed on 11 x 14 inch paper or 16 inch square images printed on 16 x 20 inch paper. Many, but not all, are signed by Salzmann.

Biographical sketches to accompany photographs (two), 1995.
Box 18 Folder 8
Book page proof, 1996.
Box 11 Folder 31
Exhibit proposal (with biographic sketches of Richard Fickmanas, Michail Percov, and Kotia Bileviciene, undated.
Box 3 Folder 284
Photographic prints (black and white), some with accompanying biographical sketches, 1995.
Box 3 Folder 285-342
Photographic prints (black and white), 1995.
Box 4 Folder 1-69
Photographic prints (black and white), 1995-1996.
Box 11 Folder 16-30
Photographic prints (black and white, mounted with captions), 1993.
Box 12 Folder 1-9
Research: Senasis Vilnius, 1946-1950, portfolio of prints by Michailo Percova, after 1989.
Box 18 Folder 10
Research: Travel map of Lithuania, ?.
Box 18 Folder 11
Spertus Institute of Jewish Studies, letter relating to exhibitions, 1996 June 24.
Box 18 Folder 9
Scope and Contents

La Lucha/The Struggle documents Cuban youth culture in gymnasiums in the city of Santiago de Cuba, Cuba's second largest city where boys, ages 11 to 18, train to be wrestlers. The project explores the relationship between athletic endeavor and national and personal survival. Cuba's athletic training program, which is a part of early education and based upon the Soviet system of state supported physical education, promotes a healthy lifestyle through rigorous exercise and prepares youth for competitive sports.

According to Salzmann, these black and white photographs depict "a fusion of youthful bodies in intense movement. These images are shadows of youthful bodies engaged in warm-up exercises, all wired-up and energetic, before the start of their training class. There is an overall sense of tension mixed with playful enthusiasm in the air. One notes a blending of different colors, from pure white skin and blonde hair, to kinky hair on a brown face, or, a dark chocolate face with shining green eyes… They are a mixed group of boys, ages 11 to 18, preparing to be professional sportsmen."

In Spanish, "luchar" means both to wrestle and to struggle. The focus of these photographs is the human form against the backdrop of a minimally equipped training studio. The images of the wrestlers in La Lucha represent an appreciation of the masculine form as well as an exploration of the role of sports in national identity."

Photographic prints in box 4, folders 70-124, are all black and white and are 7 inch square images printed on 8 x 10 inch paper. There are also color prints of photographs of murals by Luis Estudiente in box 4, folders 125-137.

Photographic prints (black and white), 1999-2004.
Box 4 Folder 70-124
Photographic prints (color) of murals by Luis el Estudiante, circa 2001.
Box 4 Folder 125-137
Scope and Contents

Luis' family is a photographic essay on urbanization of a rural Mexican peasant family in Jaurez, Mexico.

In 1966, Salzmann was invited to train for the Peace Corps at the University of New Mexico in Albuquerque, where training included an "in-country experience" in Mexico. Salzmann's group was taken to the city of Juárez where each of trainees was assigned to live with a family. The family with whom Salzmann lived were migrants from the state of Zacatecas who made adobe brick and lived in a barrio humilde (shantytown), outside of Juárez near the Rio Grande River.

Salzmann was "deselected" from the Peace Corps, but decided to return to Juárez to make a photograph essay about the family with whom he lived. The family consisted of Juana, Alvino, and their children. Alvino and his children worked in Luis' brickyard and the photographs show not only the men making adobe bricks in primitive kilns fired by old tires; but also the impoverished conditions in which the family lived.

Salzmann states that Luis' Family is his first serious photographic project which was focused on one specific theme. This photographic essay was supported by a grant from the Mexican Society of Philadelphia and was shown in 1971 in the exhibit gallery at the Philadelphia Institute of Architects.

The prints in box 4 include many sizes of images, printed on many sizes of paper. There are frequently duplicate images printed at different sizes, and sometimes mounted. Many of the prints are stamped and/or signed by Salzmann, but only a few identify the subjects of the photographs.

Photographic prints (black and white), 1967-1969.
Box 4 Folder 138-227
Scope and Contents

This series of photographs documents Romanian shepherd life in Transylvania, and was inspired by a Romanian ballad and folktales. The photographs were taken from 1983 to 1985 and the project was made possible by an I.R.E.X. (International Research Exchange) grant.

According to Salzmann, the "Mioritza" ballad "gathers in itself the world vision of the Romanian shepherd who feels intimately and mysteriously related to the cosmos of which he is part. Using the elements of the ballad to create a myth, a quarrel among shepherds in search of rich pastures is transformed into a dialogue about life and death between the shepherd and his oracular lamb."

On a literal level, the ballad is about a shepherd murdered by two fellow shepherds who are jealous of his wealth. Mioritza, the clairvoyant lamb, tells his master of the plot. "Mioritza" is not about mourning the death of the young shepherd. Rather, the ballad is a quiet but strong affirmation of omnipresent life forces and the mysterious communion with nature in the midst of which the groom, the good shepherd, exists.

A related project is the Last Jews of Rădăuți. It is possible that a selection of the photographs from this series were published in a book entitled Romania: The Shepherds of Poinana Sibiului.

The prints in box 4 are all black and white. Prints in folders 228-234 are 4.5 x 6 inch images printed on 5 x 7 inch paper. The remaining prints are largely 6 x 9 inch images printed on 8 x 10 inch paper. All are stamped and signed by Salzmann and a few are titled. Prints in box 14, folders 1-3, are black and white and images measure 9 x 13.5 inches and are printed on 11 x 14 inch paper.

The prints in box 13, folders 1-32, and in box 14, folders 4-32, are all color and are 13 x 19 inch images printed on 16 x 20 inch paper.

Photographic prints (black and white).
Box 4 Folder 228-255
Photographic prints (black and white), 1982.
Box 14 Folder 1-3
Photographic prints (color), 1981-1982.
Box 13 Folder 1-32
Photographic prints (color), 1981-1982.
Box 14 Folder 4-32
Scope and Contents

Misk'i Kachi is a meditation on the salt flats of Maras, in Peru's Cusco's Sacred Valley. Salzmann states that this series, documenting, "an abstract rendition of the Salineras (salt ponds at Maras) is very distinct from the documentary style photography that has defined much of my photographic endeavor."

Created in [2016 or 2018], Salzmann explains the name of the project (Misk'Kachi Sweet Salt/Sal Dulce): Miski is Quechua for sweet or tasty; Kachi is the Quechua word for Salt.

The series includes images by Salzmann, and poetical texts in Quechua and Spanish by Yolanda Carbajal Zuniga, "a young Peruvian of a Quechua Cultural background, which take notions of Incan culture and play themselves against the imagined imagery seen in some of the photographs from the Misk'I Kachi images."

Photographic prints are 4 inch square images printed on 5 x 7 inch paper; 3.5 x 6/5 inch images on 5 x 7 inch paper; and 7.5 inch square images on 8.5 x 11 inch paper. Most of the images are landscape images, but a few include people. Many of these prints have a photograph number which relates to the digital file name assigned by Salzmann.

Book page proofs, 2016.
Box 12 Folder 10-20
Photographic prints (black and white), 2016.
Box 4 Folder 256-305
Photographic prints (black and white), 2016.
Box 5 Folder 1-26
Photographic prints (pigment prints), 2016.
Box 5 Folder 27-33
Scope and Contents

This group of photographs is a selection from the project, Single Room Occupancy, and was published under the title of Neighbors on the Block - Life in Single Room Occupancy Hotels, an exhibit portfolio produced by the New York State Council on the Arts for the New York Museums Collaborative of the Cultural Council Foundation.

Photographs are black and white and a variety of sizes mounted on stiff backing. Many of these have annotations/notes by Salzmann.

Photographic prints (black and white, mounted), 1968.
Box 15 Folder 1-21
Scope and Contents

Salzmann appears to have taken photographs in Peru on at least two separate occasions between 2016 and 2018. He provided no description of the photographs or projects.

The photographic prints in box 5 are not represented on Salzmann's website, but may have been taken during those trips. These color prints (generally 4.5 x 6 inch images printed on 5 x 7 inch paper) document both rural and urban life, Researchers will find images of farms, farming of corn and sugar cane, animals (including donkeys, alpacas, dogs and cows), and children playing both in the city and in villages. A fair number of images document religious ceremonies, cultural events, markets, and traditional food preparation. There are several landscape shots (the only black and white image in this series of prints) as well as a few beach and boating scenes. Box 15 contains two color prints with 10 x 13 inch image printed on 12 x 16.5 inch paper.

Photographic prints (color), 2016-2018.
Box 5 Folder 34-128
Photographic prints (color), 2016.
Box 15 Folder 22-23
Scope and Contents

Salzmann provides no description of these photographs which appear to document the younger generations of the Jewish community in Rădăuți, in Romania and are clearly associated with Salzmann's project, The Last Jews of Rădăuți.

It is unclear if these photographs were taken as a specific project or were part of the larger body of photographs taken, generally, in Rădăuți. However, the contact sheets indicate that these photographs were all taken at the same time--not culled from a larger body of photographs.

The photographic prints are all black and white and images are 7.5 inch square, printed on 8 x 10 inch paper. Images are largely casual portraits--very few of the subjects are identified. Those that are identified include: Willie [Clipper], the Lehner family, photographer Mr. Penohatch, Harry Rosenblatt, Rabbi Moses Rozen, Mr. Tessler, and Dr. Hugo [Wold]. Some of these photographs are signed and/or stamped.

Photographic prints (black and white), 1979-1980.
Box 5 Folder 129-156
Contact sheets, 1979.
Box 5 Folder 157-180
Scope and Contents

Single Room Occupancy (1969-1971) is a photographic essay on people living in welfare hotels in New York City and it was Salzmann's first paying job as a photographer -- and a selection of these photographs later came to be published under the title of Neighbors on the Block - Life in Single Room Occupancy Hotels, an exhibit portfolio produced by the New York State Council on the Arts for the New York Museums Collaborative of the Cultural Council Foundation.

Salzmann was hired as a research assistant by the Department of Community Psychiatry at St. Luke's Hospital with his first assignment to become a tenant in one of the hotels that was part of their study. In March of 1969, Salzmann moved into the Valencia Hotel on West 95th Street between Riverside Drive and West End Avenue. St Luke's was working with the School of Social Work at Columbia University and was interested in trying to improve the social services provided to tenants in these buildings. To do that they needed information about the people living in the hotels and how their needs might be met.

Salzmann's job was to gather information about the SRO community. As a way of getting to know the people and creating a relationship with them, Salzmann took photographs which he shared with them. He also organized and ran, with Peter Barton, a film workshop program for tenants in some of the Single Room Occupancy Hotels which resulted in Salzmann and Barton making two documentary films, "Eddie" and "Alfred," about two of the tenants living in the SRO community.

This photographic essay was supported by a grant from the New York State Council on the Arts, St. Luke's Hospital.

Photographic prints are largely 8 x 10 inch images printed on paper of the same size. Hotels represented include Columbus Hotel, Hotel Endicott, Mt. Royal Hotel, Hotel Pennington, and St. Louis Hotel. About half of the photographs include identification of the subjects, often by first name only. The other half of the photographs do not identify either the subjects or the hotel in which the photograph was taken. These images document the people who lived in the hotels, as well as interiors and exteriors of the hotels. The "good set" appears to be a selection of photographs from the above, printed as 5 x 7 inch prints.

Photographic prints (black and white), 1969-1970.
Box 5 Folder 181-255
Photographic prints (black and white), "good set", 1969.
Box 5 Folder unknown container
Scope and Contents

Salzmann did not describe the Souvenirs of Recent Times project, which may have been part of the Last Jews of Rădăuți. These images were largely photographed in Romania from 1974 to 1978 (bulk 1974-1976).

The photographic prints are all black and white and are either 5 x 7 inch images (on the same sized paper) or 6 x 9 inch images printed on 8 x 10 inch paper. Some of the photographs are labeled, and most are signed by Salzmann. Subjects are both urban and rural, including people on streets and in public transportation and people working in fields. A significant number of these photographs are reflections in windows. Towns identified are Bucharest and Timișoara.

Photographic prints (black and white), 1974-1978.
Box 5 Folder 268-293
Scope and Contents

Tlaxcalan Sketches is a photographic portrait of a Mexican village in transition, supported by the National Science Foundation.

During the summer of 1969, Salzmann was invited to join a summer field training program for anthropologists in Mexico's Tlaxcala state. He lived in the village of Santa Isabel Xiloxoxtla, Tlaxcala, a village of some 1,000 people on the lower slopes of La Malinche, an inactive volcano. Tlaxcalans were enlisted by Hernán Cortés, in the early 16th century, to help him in his conquest of the Aztecs (Mexia) their enemies. In return for Tlaxcalans helping the Spanish defeat the Aztecs, they were allowed to keep their traditional form of government for close to 300 years after the conquest.

The villagers of Santa Isabel practiced a way of life similar to what Cortés had seen over 400 years before. People were wearing clothing woven from local plant fibers, harvesting the same crops: corn, squash and beans, washing their clothes in nearby streams, extracting the sap from the maguey cactus from which to make their pulque, and celebrating feast days of Gods of the past, now reincarnated as Catholic Saints. Around 1969, however, paved roads made the surrounding villages of the Malinche Mountain accessible from nearby larger cities like Puebla and Tlaxcala and television sets were introduced, allowing the villagers to see the first landing of men on the moon.

During the University of Pittsburgh's Department of Anthropology summer field training program, trainees gathered each Saturday morning at the Hotel Tlaxcala for a lecture given by Hugo De Nutini, a Chilean anthropologist who was a professor at the University of Pittsburgh as well as guidance on how to conduct anthropological field work. Trainees were encouraged to create a mini-field project that could be accomplished during the training program and Salzmann chose to create a photo-ethnography of the village, photographing the villagers at their daily tasks and spending time with the men of the town at a small store selling Dos X's beers which had replaced pulque, a milk-colored, alcoholic beverage made from the fermented sap of the maguey plant, as the preferred drink.

Two summers later, he returned to Santa Isabel to work with Ayșe Gürsan, a young Turkish anthropologist who had received a summer grant from the University of the Arts (then Philadelphia College of Art) to undertake a study of Mexican crafts and traditional markets of the Puebla-Tlaxcala and Oaxaca Valleys. Salzmann worked as her photographer and translator, working from Santa Isabel which served as their base operation for the first part of the study. Ayșe Gürsan and Salzmann married.

Salzmann published Tlaxcalan Sketches in 2012. A selection of images from this series were included in the book and exhibit Mexico Through Foreign Eyes: Vistos por Ojos Extranjeros 1850-1990, by Carole Naggar and Fred Ritchin.

Photographic prints in box 5 are either 4.25 x 6.5 inch images printed on 5 x 7 inch paper or 6 x 9 inch images printed on 8 x 10 inch paper. The last image is 8.5 x 9.5 inches printed on 8.5 x 11 inch paper.

Photographic prints (black and white), 1972-1974.
Box 5 Folder 294-311
Scope and Contents

This group of photographs, mainly created from 1984 to 1989, document Jewish monuments throughout Turkey as well as Jews of Turkey. Salzmann was invited to go to Turkey for a three month stay to prepare a series of photographs of what remained of Jewish monuments in Turkey, at the request of the Beth Hatefutoth Museum of Tel Aviv, and an invitation from the Quincenteniel Foundation of Istanbul. Salzmann asked his Turkish anthropologist wife, Ayșe Gürsan-Salzmann, to help with the research for his project. They extended their research to include the living communities still intact in various Turkish cities. So their "three month stay," became a five year-long visit.

The first year of the project involved Salzmann and his wife visiting and recording life histories or stories in over 30 locations where Jewish communities had existed in Anatolia. He also worked during that time to create photo and film documentation of the Jewish community of Istanbul that was continued over a 5 year period. This work also came to include an hour length film on the Jewish community of Turkey.

In an article, Aliza Marcus states, "while traipsing all around from Edirne to Diyarbakir, photographing remnants of communities that no longer existed, [Salzmann] got the idea to do something with the living Jewish community, a community many people don't know about and others think must be terribly repressed as Jews in a Muslim country. But, as Salzmann explains, it's exactly because the Jews here have lived freely for centuries, maintaining traditions and a language from 500 years ago when they were expelled from Spain during a time of forced conversion and threats of death, that he felt some documentation was necessary."

According to Jason Francisco, Associate Professor of Photography, Emory University, "Salzmann was able to discern how the lives of Turkey's Jews are both deeply enmeshed with and distinct from their Turkish neighbors. His photographs trace families and individuals in relation to communities, distinctly Jewish cultural and religious practices in relation to everyday Turkish life, and the nature of Jewish "place" as it is both visible to many and deeply felt by some. Without a doubt, Salzmann's Turkish archive is the most extensive and most insightful photographic work on its subject, and one of the best examples of photographic ethnography on any community that I know of."

Salzmann's interest in Turkey's Jews continued beyond this project. In both 2010 and 2012, the Salzmanns revisited Turkey and added on additional materials to their video documentation of Turkey's Jewish communities. Salzmann spent part of September and October of 2012 photographing Jewish rituals and religious celebrations in both Istanbul and Bursa. Turkey's chief Rabbi Haleva encouraged Salzmann to continue his work as a documenter of their community and praised the Salzmanns work on their then recently published book: Travels in Search of Turkey's Jews. Other public results of this project include a book entitled, Anyos Munchos I Buenos, and an hour length film, Turkey's Sephardim: 500 Years.

Photographs were taken mostly in Ankara, Antakya, Balat (Istanbul), Burgaz island, Büyükada, Diyarbakir, Edirne (historically known as Adrianople), Gaziantep, Harran, Hasköy, Istanbul, Izmir, Kilis, Kuzguncuk, Mardin, Nusaybin, Sardis, Şişli, and Urfa (officially known as Şanlıurfa); and subjects include Jewish businesses and workers, synagogues (including religious objects), neighborhoods, shabbats, religious celebrations, schools, cemeteries (including tombstones), and markets. There are many casual portraits.

This series of photographs includes a few distinct sets of photographs. largely distinguished by size. These groups have been maintained. Researchers will find black and white photographic prints in boxes 6 and 7. Photographic prints (black and white) found in box 6 are either 6 inch square or 7 inch square images printed on 8.5 x 11 inch paper (some of which is copy paper). All are signed and stamped. Some contain additional information on the back of the image and some contain a numbering system. Other black and white prints have a wide variation in image sizes, papers, and sizes of paper. A large group of black and white photographic prints are found in box 7, folders 202-320 and box 8, folders 1-130--these images are generally printed on 5 x 7 inch paper, but the image size varies--for the most part, a large white space has been left and Salzmann made notes and identified subject above or below the image.

The color prints are generally 6 or 7 inch square images printed on 8.5 x 11 inch paper (some of which is copy paper). These prints, like the black and white prints, are signed and stamped, some have a numbering system, and a small number have additional information identifying the subject (frequently in nearly illegible handwriting). There are more than 200 small prints (3.5 inch square, 4 inch square, or 3.5 inch square prints) in box 7, folders 198-201. Most of these photographs are annotated on the verso and, on occasion, larger prints of these photographs can be found in box 7, folders 79-197.

Anyos Muchos i Buenos: Celebrating 500 Years of Sephardim in Turkey, exhibition and book publicity, 1984-1989.
Box 18 Folder 13
Anyos Muchos i Buenos: Celebrating 500 Years of Sephardim in Turkey, exhibition and book paste-ups, 1984-1989.
Box 18 Folder 13-27
Anyos Muchos i Buenos: Celebrating 500 Years of Sephardim in Turkey, exhibition and book press and publicity, 1990-1994.
Box 18 Folder 28
Contact sheets, 1984-1989.
Box 8 Folder 131-224
Negatives, 1984-1989.
Box 18 Folder 12
Photographic prints (black and white), 1984-1989.
Box 6 Folder 1-274
Photographic prints (black and white), 1984-1989.
Box 7 Folder 1-78
Photograph prints (color), 1984-1989.
Box 7 Folder 79-201
Photographic prints (black and white), with notes, 1984-1989.
Box 7 Folder 202-320
Photographic prints (black and white), with notes, 1984-1989.
Box 8 Folder 1-130
Photocopies of prints with captions, 1984-1989.
Box 15 Folder 24
Scope and Contents

Photographs from the Vent series were made from 1983 to 1985. Inspired by off-hand photographs of friends in white pancake makeup following an event, Salzmann began photographing nudes over steam vents in Philadelphia. According to Salzmann, the photographs "needed a certain amount of daring because they were all made in public places. The photographer or friends had to watch out for police and other unfriendlies." During one shoot Salzmann's camera and film were confiscated and he was put in jail for the night. Later the charges were dropped.

Some of these photographs were exhibited at Woodmere's "A More Perfect Union? Power, Sex and Race in the Representation of Couples" in 2016.

The photographic prints are all black and white and 7.5 inch square images on 8 x 10 inch paper.

Photographic prints (black and white), 1983-1985.
Box 8 Folder 225-287
Scope and Contents

These photographs, which were not described by Salzmann, were taken at Windley Key Fossil Reef Geological State Park in Florida, in 2016. Images are largely of coral and rocks, interspersed with trees. According to Florida State Parks, the park is "formed of Key Largo limestone and fossilized coral [and the] land was sold to the Florida East Coast Railroad, which used the stone to build Henry Flagler's Overseas Railroad in the early 1900s. After the railroad was built, the quarry was used until the 1960s to produce exquisite pieces of decorative stone called Keystone." (Windley Key Fossil Reef Geological State Park website).

Photographic prints are largely 4 inch square images printed on 5 x 7 inch paper, some of which is silver. Some are labeled with a numbering system and a very small number are signed. There are both black and white and color images.

Photographic prints, 2016-2017.
Box 8 Folder 288-307

Artwork (reproductions), especially from Jewish Museum of Greece (possibly intended for a book), circa 1986.
Box 18 Folder 29
Business cards, undated.
Box 18 Folder 30
Mircea Juga (wedding photos), Poina Sibiului, Romania, 1932-1982.
Box 8 Folder 308-314

Print, Suggest