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.
Nigel Poor’s The San Quentin Project
By Sarah MorozArtist and educator Nigel Poor, who brings an incredible solicitude and sense of fellowship to The San Quentin Project, began teaching a history of photography class through the Prison University Project. These images reveal not only life inside one of America’s oldest prisons—but also great insight into how prisoners perceived these annals, and themselves.
Carmen Winant’s Instructional Photography: Learning How to Live Now
By Sarah MorozWinant finds aesthetic and symbolic value in the instructional bracket. By reinvesting what the genre can bestow, it suddenly takes on a new breadth: transitioning from dry inculcation to uncanny narrative ensemble.
Chloe Sells’s Hot Damn!
By Sarah MorozRather than pure archive, this book shows writer Hunter S. Thompson through the eyes of his assistant.
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.
Arthur Jafa: Revue Cahiers d’Art
By Sarah MorozThese dialogues are indirect vehicles for Jafa’s articulation of selfhood, intercut with images from both interviewer and interviewee’s corpus, as well as excerpts of text by Man Ray and Saidiya Hartman. This scrapbook excels at summoning a feeling of intensity, thanks to his sharp-eyed snippets fashioned into observant, charged juxtapositions.
