Charles Hagen

  • Les Levine

    In two pieces this summer Les Levine continued his work in public media. Forty-eight hundred copies of We Are Not Afraid, a placard version of his 1980 proposal for subway posters, were placed in New York subway cars during May and June in association with the Lower Manhattan Cultural Council and the Public Art Fund, Inc. (The piece was also reproduced in an ad in the Summer issue of this magazine.) And Mind, a Plasticine painting, appeared on the cover of the June 15 Village Voice special issue on nuclear disarmament. In both, Levine adopted conventions of the specific medium he was working

  • Erich Salomon

    In the late ’20s and throughout the ’30s Erich Salomon provided a steady stream of pictures for the illustrated magazines that were then gaining a mass audience in Europe and America. Using newly invented miniature cameras such as the Ermanox and the Leica, Salomon specialized in unposed pictures of diplomats, statesmen, and other celebrities caught off guard in informal moments. His best-known photographs come from his constant coverage of the seemingly endless series of diplomatic conferences that preoccupied Europe between the wars; but, as this show demonstrates, he also photographed other

  • James Byrne

    In Phase, 1981, James Byrne has arranged four video monitors inside a square metal frame so that their screens radiate from the center, like the blades of a pinwheel. Hung by one corner from the ceiling this whole apparatus takes on a diamond shape; by playing the same tape on all four monitors simultaneously Byrne creates a pulsating electronic mandala. Camera movements, replicated fourfold in this strictly symmetrical format, lose their individuality and become part of an overall pattern. Side-to-side pans and tracking shots become tangents on an imaginary circle whose center coincides with

  • Photodiscovery

    TWO THINGS DISTINGUISH PHOTODISCOVERY from the usual run of coffee-table compilations of photographs. First, it includes an exceptionally high percentage of little-known pictures, and second, it lacks almost any shred of thematic unity.

    The book is an expanded version of a series of articles that Bruce Bernard originally prepared for the London Sunday Times magazine—where he’s the picture editor—on photographic treasures hidden away in archives and other collections. Bernard has a good eye for grabbers. Photodiscovery is chock-full of photographs that delight, puzzle, amuse and startle. Many are

  • Photography: Essays & Images; Illustrated Readings in the History of Photography

    THIS ANTHOLOGY IS AN immensely valuable sourcebook for anyone interested in the history of photography. It includes 50 texts of various kinds from all periods of the medium’s past—essays by critics, historians, photographers; interviews with significant figures in the field; news reports of major events; and reports on technical advances—all illustrated profusely, and each introduced by a short background note by Beaumont Newhall. In form it is strongly reminiscent of Nathan Lyons’ 1966 Photographers on Photography. In fact, the two volumes complement each other well—while Newhall’s is weakest