Lillian Bassman: A Master of Fashion Photography's Artifice
The world of fashion photography is a realm of artifice, a place where appearances are crafted and beauty is constructed. Lillian Bassman, a legendary photographer, spent decades at the forefront of this industry, shaping the very essence of fashion media. But after leaving the commercial world, she discovered a new freedom, a chance to experiment and challenge the very nature of her craft.
In this article, I'll delve into Bassman's remarkable journey, exploring her unique perspective on fashion photography and the profound impact of her work. I'll also discuss the exhibition 'Lillian Bassman: Bazaar and Beyond' at the Metropolitan Museum of Art, which showcases her extraordinary talent and her ability to embrace the artificiality of fashion.
A Career in Fashion Media
Bassman's career began in the early 1940s as an aspiring illustrator, but her path soon led her to the world of fashion photography. Working under the legendary Alexey Brodovitch, she quickly became a master of her craft, capturing the essence of fashion with a unique and analytical eye. Her early work at Harper's Bazaar, including photo collages, editorials, and magazine covers, showcased her modernist influences and experimental formal techniques.
One of the most fascinating aspects of Bassman's early career was her adoption of Russian Constructivist graphics, a bold choice for a fashion magazine. This movement, rooted in anti-capitalist beliefs, provided a stark contrast to the glossy and glamorous world of fashion. Bassman's work during this time, though removed from the industry's superficiality, offered profound insights into her photographic practice.
Embracing the Darkroom
As the exhibition progresses, we witness Bassman's technical prowess in the darkroom, where she experimented with extreme over- and under-exposure to light and the selective application of bleach. Her darkroom work mirrored the way women construct their beauty and femininity in their daily lives, using bleach-drenched paintbrushes as a metaphor for makeup brushes and hair dye. These test covers, akin to Pop art, showcased Bassman's contrarian vision within the refined and restrictive world of fashion media.
The Power of Reprinting
One of the most captivating parts of the exhibition was Bassman's later work in reprinting her earlier negatives. In the 1990s, she made substantial darkroom manipulations by experimenting with exposure times, applying chemicals more harshly, and even using an early version of Adobe Photoshop. Two variations of 'The Cape Back is Back' from 1949 and 1994 exemplified her personal evolution. The original photograph, almost blending the model into the scenery, was transformed in the 1994 version, where Bassman accentuated the contrast between light and dark, creating a stormy uncertainty in the model's features.
This process of reprinting allowed Bassman to break free from the pressures of commercial image-making. Without the constraints of editors, designers, and advertisers, she could explore her creative vision, allowing artifice to breathe and grow. This freedom is a testament to her genius, as she embraced the very essence of fashion photography's artificiality.
Authenticity and Artifice
Bassman's work forces us to contemplate the conceptual side of fashion photography. Her later reprints raise questions about authenticity and artifice. Are the older images more authentic because they reflect her personal vision, or do they perpetuate the industry's superficiality? This is where Bassman's genius truly shines. She embraces artifice as a fundamental part of her craft, challenging the notion that authenticity and artifice are mutually exclusive.
In a way, we are all tasked with editing our lives, curating what we want people to see. Bassman's work demonstrates that embracing artifice can be a powerful tool, allowing us to create and project our desired image. Her contribution to the fashion photography canon is a testament to her unique perspective and her ability to challenge conventions.
Conclusion
Lillian Bassman: Bazaar and Beyond exhibition at the Metropolitan Museum of Art is a must-see for anyone interested in fashion photography. It showcases her extraordinary talent, her technical prowess, and her ability to embrace the artificiality of her craft. Bassman's work continues to inspire and challenge, reminding us that fashion photography is a powerful medium that shapes our perceptions of beauty and self-presentation.
