To hold together Catherine Opie and Brigitte Lacombe’s works is to revel in the similarities between them. They each take pictures that telegraph a highly ethical interaction between the sitter and the photographer.
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Gail Rebhan grew up in a household with one parent a rising trade union organizer and the other a contented housewife. That relationship seemed quite complementary for its time. Yet the daughter, coming of age in a period of second-wave feminism, intended for her art to question the prevailing gender norms in the domestic patterns of her own generation.