Sarah Miller is a historian of photography, modern art, and American visual and material culture. She is working on a book about the multiple, highly contested inventions of the concept "documentary" in American photography of the 1930s-40s. Her work has been supported by ACLS/Luce Foundation, CLIR/Andrew Mellon Foundation, the Whiting Foundation, the University of Chicago, the Center for Creative Photography, and the Ryerson Image Centre. She has also held curatorial fellowships at the Harvard Art Museums and the Art Institute of Chicago.
“‘Dynamic Equilibrium’: Berenice Abbott’s History of the Now,” in Berenice Abbott: Photographs, ed. Gaëlle Morel, exh. cat. (Paris/Toronto: Hazan/Jeu de Paume/Ryerson Image Centre, 2012).
From 2010 to 2013 Sarah was the Terra Foundation Postdoctoral Scholar in American Art at the University of Chicago, where she taught courses on American art, photography, and modernist theory. Since 2014 she has taught history of photography as a visiting faculty member at the San Francisco Art Institute. Special areas of teaching interest include the nexus of photography, memory, and citizenship in the U.S.; landscape ideologies and practices; gender and sexuality theory in the study of modernism; avant-gardes of the 1920s-30s; material culture and thing theory; and theories and practices of ‘documentary.’