Old Made New

 

Lillian Bassman, Carmen, early 1950s. Image courtesy of Staley Wise Gallery

Lillian Bassman, Carmen, early 1950s. Image courtesy of Staley Wise Gallery

Lillian Bassman: Lingerie

April 13-May 26, 2012

Staley Wise Gallery

560 Broadway

New York, New York

Lillian Bassman was a female ahead of her time in the mid-20th century. After taking on textile design and fashion illustration, photography became her crowning achievement. Her photographs appeared in Harper’s Bazaar from 1940 through the 1960s with the likes of Alexey Brodovitch and Louise Dahl-Wolfe. It was not until the early 1990s that Bassman took these images into the darkroom, contributing mystery with augmented  contrast. The tension between soft skin and constrained lingerie, fluid contours of the body and fuzzed silhouettes distills the nuances of the female form.

Lillian Bassman, Southwest Passage-Sunset Pink, 1951, model unknown (pajamas by Kicker nick). Image courtesy of Staley Wise Gallery.

Lillian Bassman, Southwest Passage-Sunset Pink, 1951, model unknown (pajamas by Kicker nick). Image courtesy of Staley Wise Gallery.

 

 

Bruce Sargeant, Three Men Fishing, no date, oil on canvas, 56 x 44"

Bruce Sargeant (1898-1938), "Three Men Fishing," Oil on canvas, 56 x 44 inches, Courtesy of ClampArt, New York City

Master & Apprentice: Hippolyte-Alexandre Michallon (1849-1930) and Bruce Sergeant (1898-1938), curated by Mark Beard

March 29-May 12, 2012

CLAMPART

521-531 West 25th Street

New York, New York

Propelled by the desire to work through different mediums and historical tropes, Mark Beard has formulated a variety of artistic personalities that allow for legitimate immersion. Michallon’s work is based in late-19th century traditions: still-lives, mystical renderings of super-humans, and barnyard animal renderings. Sergeant, who Beard clams is a great uncle, is noted as a pupil of Michallon that flourishes at the turn of the 20th century. His gray-tinted portraits of handsome men revolve mostly around occupational portraits. Soldiers and businessmen are also captured in states of relaxation, oftentimes shirtless and glamourous. One seated female subject by Sergeant provides a morsel of empty estrogen as she stares off listlessly. Beard squeezes his work into the art historical timeline and suggests a novel adaptation of understood styles.

Hippolyte-Alexandre Michallon, La Basse-Cour, 1886, oil on canvas, 48 x 72"

Hippolyte-Alexandre Michallon (1849-1930), "La Basse-Cour," 1886, Oil on canvas, 48 x 72 inches, Courtesy of ClampArt, New York City

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About Lynn Maliszewski, Contributor-at-Large

Lynn Maliszewski is a freelance writer based in Brooklyn, New York. She curated and composed work for ArtWrit, BOMB Magazine, HAHA Magazine, Hyperallergic, LatinLover, Modern Painters, No.3, Whitehot Magazine, and Whitewall. She is currently the Contributor-at-Large for ON-VERGE, an arts journalism blog sponsored by CUE Art Foundation, until 2013. She hosts her own blog, Contemporaneous Extension, as a compendium of aesthetic interests, archived exhibitions and artists, and uncensored inferences. She has contributed editorially to the College Art Association, the Bushwick Film Festival, Like the Spice Gallery, and the Museum of Modern Art.
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