New York

Lorna Bieber

Julie Saul Gallery

Culled from vintage sources—decorator’s magazines circa the late ’40s and early ’50s—Lorna Bieber’s photographs of interiors map the domestic landscape of America. The views they present evoke the rise of the American middle class, the era just before the parlor was turned into a TV room. The coziness of these rooms—crammed with side tables and protected from drafts by drapes in every window—is keenly offset by a sense of dissatisfaction with the overall decor, a combination of French provincial and “country living.” In Chairs, 1994, the tripartite imagery seems to document the gaze of a decorator as it scans the room, slides over an armchair, jumps back, freezes, and glowers at the guilty side chair. Besides the offending furniture, there is also the outdoors to contend with; it beckons loudly from large windows and casts its reflection in the overly plentiful mirrors. Sometimes it even

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