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PHOTO-EYE BEST BOOKS 2018
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Laura Moya's favorite book from 2018

Summer of the Fawn

Feeling the weight of American politics and the tedious routine of adult life, I found a visual antidote in Alain Laboile’s Summer of the Fawn. Transported to his corner of village life in France, I get to hang out with his children who make their home and gardens a playground of artful frolic: finding deer antlers! Climbing hay bales! Wearing a tutu instead of clothing! Drawing, painting, running with dogs, and no doubt falling asleep exhausted but happy at day’s end. A beautifully feral existence that makes me happy to just know it is happening somewhere.


Laura Moya is the director of Photolucida, in Portland, Oregon. She organizes Photolucida’s biennial Portfolio Reviews event, Critical Mass programming, and Portland Photo Month. She has reviewed and juried for many organizations, most recently LensCulture’s Art Photography Awards. www.photolucida.org
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Laura Moya's favorite book from 2018

Jamais je ne t'oublierai

Intrigued by the amount of gold gilt in Paris, I was drawn to the work of Carolle Bénitah at Paris Photo — her series Jamais je ne t'oublierai (I Will Never Forget You) examines issues surrounding ancestry and memory, myths and truths. Bénitah deconstructs the fabled depictions of idealized family life by constructing her own version of (our collective) ancestors who have disappeared from this earth while simultaneously giving us permission to mourn the passing of time in a more honest way.

Japanese binding with a spiral spine, gold hot foil stamping and a very nice weight when held make this publication an objet d'art fitting to the constructive process of the series.


Laura Moya is the director of Photolucida, in Portland, Oregon. She organizes Photolucida’s biennial Portfolio Reviews event, Critical Mass programming, and Portland Photo Month. She has reviewed, juried and curated for various organizations. www.photolucida.org
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Laura Moya's favorite book from 2018

You can call me Nana

You can call me Nana is a layered ode to watching a loved one succumb to dementia, while simultaneously revealing tender details of the past and navigating shifting familial roles. How does one gracefully battle the cruel dementia ghost? Will Harris brings his Nana’s voice into the narrative with handwritten excerpts from conversations as well as recorded audio loops (‘Evelyn Beckett Audio’ on his website) mixed with distortion that reads as being reflective of her brain activity. Archival photographs and images of the time-worn family home add perspective. Toward the end of the book, Last Breakfast gives us a portrait of Nana where Harris matched the length of the exposure with the amount of time it took her to eat her meal (kind of brilliant). In the end, it is the love that Will has for Nana that makes this book an extraordinary act of devotion.


Laura Moya is the Director of Photolucida, in Portland, Oregon. She organizes Photolucida’s biennial Portfolio Reviews event, Critical Mass programming, and Portland Photo Month. She has reviewed, juried, and curated for many organizations – most recently the HUMAN/NATURE exhibition at the Lishui Photography Festival.

photolucida.org
@photolucida