Lillian Bassman Pinceladas exhibitioon Loewe Foundation Madrid

The photographer Lillian Bassman revolutionized the world of fashion photography adding the sense and sensitivity of femininity in her images. Now, the Loewe Foundation honors this charismatic woman.
"My contribution has been photograph the world of women's fashion with the feelings of a woman seen through the eyes of another woman". Lillian Bassman, self-demanding, rigorous and wildly creative, had clear that her work should not go unnoticed and, with the same discipline that she was dedicated to painting and dance, she flipped on giving uniqueness and elegance to your pictures. 
 
The "Pinceladas" exhibition, shows for the first time in Spain the work of this American artist of Jewish origin that transformed fashion photography giving it shades of paint and developing treatments - long before the invention of Photoshop - to reveal not only an image, a moment or a style, but also feelings and sensations. "I was interested in creating a vision that went beyond what the camera saw," said Bassman... And it seems she made it.
Bassman lived a great time in the Art Department of Harper's Bazaar, from where she filled fashion magazines with the sophisticated females of the Happy 30's, after the Second World War. From that time, for example, you can see the legendary photograph "Across the Restaurant. Paris 1949". 
 
But the years passed and the happy world of fashion and advertising also changed. In the 70s, the photographer, disappointed by the direction its sector took and in which "there was no room for experimentation", made a radical turn in his career and destroyed many of his films. Luckily, his aides hid some of the material and, as a result, Lillian Bassman was rediscovered in the 90s, already turned 80. Bassman returned with renewed strength and experimented with acids, tissue paper, smoked lenses...
After a successful exhibition in New York in 1993, she received orders from major firms and trendy journals, and. in 2004, the work of Lillian Bassman was awarded with the Lucie Award for his unquestionable and unique contribution to fashion photography in the forties and fifties. 
 
A few months before his death, at ninety-four, Bassman was working on your pictures through the computer: "Here I am, it is not the lab but experimenting with the computer it's also fun."
 
Curated by Maria Millan, the exhibition is framed in PhotoEspaña 2014 program and you can enjoy it at Loewe Foundation (Serrano, 26 Madrid) until 31 August. Then, it will travel to the headquarters of the Foundation in Barcelona until 9 November.

 

“Everything that reduces art to a subjective, subconscious and spiritual discourse is a total adulation that discredits the art world”

Lino Lago looking forward inspiration in daily life to create a painting with a great conceptual load. In his most recent series entitled Fake Abstract, which he will exhibit at Art Madrid with the Moret Art Gallery, he plays with the characteristic elements of abstract painting: line and colour, where under a painting of flat colours they are guessed, through lines, famous classic portraits.

 

His work has been exhibited in renowned national and international spaces such as the Flint Institute of Michigan and the outstanding George Adams Gallery in New York and has participated in important fairs such as Arco, Art Miami or Art Fair “SH Contemporary 09″ from Shanghai.

 

Moret Art brings your production back to the Fair. How do you feel your work fits in Art Madrid?

Works of art today reflect the individualism of their authors; works of art are mobile, they travel and fit anywhere. Needless to say that this individualism is a generalized feature. There is another more academic art which is institutionalized art, less free. Art in Institutions and Government museums is the only one that has reliable regulated guidelines when it comes to “fit” in such places. In this case I normally refer to propaganda art. Art Fairs are generally perfect places to find free art (if that were possible, or made sense to some extent, or if we understand art as a social phenomenon based on liberty.)

 

In your work we can perceive the questioning of the glance as an abstract concept. How do you think contemporary art is viewed today?

There is a social stream that views art with some criticism and skepticism. I think this is healthy and it has a foundation that we do not want to analyze in depth. If we compared it to some other areas we would understand why. For example, in sports we can clearly see a more normal “justice.” He who is objectively faster or stronger wins. Talent in the sports world is something evident and because of that sports are disdained by the world of art. I believe anyone can reach their own conclusions. By all means Art is (in theory) an intellectual phenomenon, which does not mean that art turns intelligent anyone who approaches it, just as anyone who touches a soccer ball is not a Maradona. As an intellectual phenomenon it is impossible for art not to have lots of misguided argumentations, false judgments, sophistry, and hot air.

Your work has been recognized internationally on many occasions… Do you believe that artistic recognition is a dynamic facet?

More than dynamic. The results an artist needs are the sequel of the relationship between the artist and his work and society. This is something that is not learnt in any university.

 

As an artist, what do you feel committed to?

With liberty. This word has almost been shunned from the paraphernalia of today’s art. I am very critical with official art which is nothing but academe. In my work I introduce 19th-century academe as an ironic way of pointing out this problem: I believe that postmodern education and philosophy have been, and still are, a hoax that has diminished the intellectual capability of the humanities.

 

Criticism through irony over a great technical mastery is your hallmark. Although you have a diverse production… do you feel a unity in your work as a whole? Is that generated consciously or is it a natural artistic trait?

In my case I am aware of it. Besides, it is the process of hard work. To speak of naturalness, and above all to speak of unconsciousness is an aberration. Whatever reduces art to a subjective subconscious or spiritual discourse is an all-out sham that discredits the world of art.

 

Do you believe that artistic originality is getting to be difficult to find? Is it there where the value of your work rests?

I believe so. Although the difficulty here is to decide what to be original means. In times where the cultural predominance is in the hands of the passing anecdote, the emptiness, and the all goes… perhaps originality might be something else, right?

 

The gallery Moret Art will present the recent art works of the artists: Daniel Sueiras, Xurxo Gómez-Chao, Miguel Piñeiro, Pilar Diez