In the world of fashion photography, where appearances are everything, Lillian Bassman stands out as a true artist who challenged the very nature of the medium. Her work, showcased in the exhibition "Lillian Bassman: Bazaar and Beyond" at the Metropolitan Museum of Art, is a testament to her unique perspective and her ability to embrace the artificiality of fashion while pushing its boundaries. Bassman's journey from aspiring illustrator to fashion photographer is a fascinating one, marked by a constant exploration of the medium's superficiality and a desire to break free from the constraints of commercial photography.
What makes Bassman's work so compelling is her willingness to experiment and challenge the status quo. Her early career at Harper's Bazaar, under the guidance of Alexey Brodovitch, laid the foundation for her distinctive approach to fashion photography. The exhibition begins with her early work, including photo collages and magazine covers, which reveal a clear influence of modernist and Dadaist movements. These early pieces demonstrate Bassman's analytical eye and her interest in the conceptual side of fashion photography.
One of the most striking aspects of Bassman's work is her use of darkroom techniques to manipulate images. Her series of gelatin silver test prints for magazine covers showcase her technical prowess and her ability to play with light and shadow. By experimenting with extreme over- and under-exposure, as well as the selective application of bleach, Bassman created images that were both beautiful and thought-provoking. These test covers, akin to Pop art, underscore her contrarian vision and her desire to break free from the refined and restrictive world of fashion media.
Bassman's fashion photography is characterized by her ability to abstract subject matter through camera angling, posing, and darkroom distortions. Her models often do not look directly at the camera or their faces are obscured, creating a sense of uncertainty and ambiguity. These images, with their contorted bodies and faces, serve as perfect hangers for clothes, distilling the models into silhouettes that are both striking and thought-provoking.
However, it is her later reprints that truly showcase Bassman's genius. By reprinting her earlier negatives and experimenting with exposure times, chemicals, and even early versions of Adobe Photoshop, she created new and powerful images. Two variations of "The Cape Back is Back" from 1949 and 1994 encapsulate her personal evolution. In the original photograph, the model almost blends in with the scenery, whereas in the 1994 version, Bassman accentuates the contrast between light and dark, creating a stormy uncertainty in the model's facial features and elbow.
Bassman's work forces us to contemplate the conceptual side of fashion photography and the relationship between authenticity and artifice. Her embrace of artifice is not a sign of weakness, but rather a testament to her artistic vision and her desire to challenge the medium's superficiality. In a way, we are all tasked with editing our lives, curating what we want people to see. Bassman's contribution to the fashion photography canon is precisely her embrace of artifice, and her work continues to inspire and challenge us to think more deeply about the nature of beauty and appearance.
In conclusion, "Lillian Bassman: Bazaar and Beyond" is a must-see exhibition for anyone interested in fashion photography and the conceptual side of the medium. Bassman's work is a powerful reminder of the importance of challenging the status quo and embracing the artificiality of fashion while pushing its boundaries. Her work continues to inspire and challenge us to think more deeply about the nature of beauty and appearance, and her legacy as a true artist and visionary in the world of fashion photography is secure.
