File: LBM.B2.132 Lillian Bassman Tra Moda e Arte: Teresa in a gown by Laura Biagiotti and shoes by Romeo Gigli, 1996 © Lillian Bassman Estate, Courtesy Edwynn Houk Gallery
Expositions du 12/5/2016 au 8/7/2016 Terminé
Edwynn Houk Gallery 745 Fifth Avenue 10151 New-York États-Unis
Edwynn Houk Gallery is pleased to announce its exclusive representation of the Estate of Lillian Bassman and its first exhibition of the artist’s photographs. On view 12 May – 8 July, the show will feature more than 30 photographs tracing the legendary fashion photographer’s stylistic development from early vintage prints to her reinterpreted prints made in the 1990s.Edwynn Houk Gallery 745 Fifth Avenue 10151 New-York États-Unis
File: LBM.B3.065
Lillian Bassman
Southwest Passage - Sunset Pink: Model in pajamas by Kickernick, Harper's Bazaar, 1951
© Lillian Bassman Estate, Courtesy Edwynn Houk Gallery
A seminal figure in the history of fashion photography, Lillian Bassman’s photographs appeared on the pages of Harper’s Bazaar from the 1940s through the 1960s. She trained and worked under famed art director Alexey Brodovitch, eventually becoming art director of Junior Bazaar in 1945, until the magazine’s closing in 1948. While working as art director, Bassman regularly hired photographers such as Richard Avedon, Arnold Newman, and Robert Frank. By 1946, Bassman began taking her own photographs and swiftly transitioned from art director to fashion photographer. Her first photograph was published in Bazaar in 1946 and her first editorial story in 1948.
Known for blurred silhouettes, exaggerated gestures, and unusual compositions, Bassman's photographs illustrate the mystery and glamour of the modern woman. Transforming her images with bleaching and toning techniques in the darkroom, she introduced a new aesthetic and revolutionized fashion photography.
In the early 1970s, disillusioned by the state of the commercial world of fashion photography, Bassman left the industry and destroyed most of her negatives and prints. Twenty years later, she discovered a box of negatives and began re-interpreting them. Using the darkroom, and later the computer, she would change the original framing, accentuate contrast and blurriness and retouch the background. These singular images led to a renewed interest in her work among editors, curators, and collectors.
File: LBM.B1.035
Lillian Bassman
The Cost of Living, Barbara Mullen, dress by Omar Kiam for Ben Reig, New York, 1950
Reinterpreted 1994
© Lillian Bassman Estate, Courtesy Edwynn Houk Gallery