Sarah Moroz
Charles Fox’s Buried
By Sarah MorozThis artist’s book mixes vintage photographs, personal recollections, and hand-written captions to tell the story of one family’s experience before and after the Cambodian genocide.
Lorena Lohr’s Tonight Lounge
By Sarah MorozThis book of photographs showcases snippets of what one might call the normal, or at least the ordinary, documenting glimpses of small towns using 35mm color film and assorted cheap cameras.
Karlheinz Weinberger’s Photographs: Together & Alone
By Sarah MorozNever-before-published intimate portraits of nude men the Zurich-based photographer invited into his makeshift studio, located within the apartment he shared with his mother, show the studio as a refuge for homoerotic desire away from relentless Swiss normativity.
Ryan Debolski’s LIKE
By Sarah MorozThe photobook documents the laborers in the Persian Gulf with an affable eye, estranged from the grueling and under-compensated work that shapes their days, paired with an impassioned postscript to the images by the publisher that is critical of this exploitative socio-economic system.
Alex Majoli’s Opera Aperta
By Sarah MorozThis composite project incorporates ideas about performance and the pandemic in a narrative that cannily straddles realism and symbolic exaggeration. The project highlights that reportages still contain subjectivity, making storytelling tricky to differentiate from non-fiction.
François Halard’s 56 Days In Arles
By Sarah MorozThis book is a tally of time in lockdown: a beautiful wordless diary in Polaroid glimpses by French photographer François Halard. The images feature corners of his abode, grand rooms, decorated with a bucolic-bourgeois sensibility and strewn with collections and curios, providing a kind of slanted self-portrait.
Elliott Erwitt’s Found Not Lost
By Sarah MorozNot only a visual showcase of overlooked images, this book further underscores how classifying, sifting, and intuiting what is essential from one’s own production is key to the artistic process, perhaps as much as the creative act itself. It shows how sidelined work can be reconsidered and even reframe a legacy, be it the way the artist regards the work, or the way viewers do.
