ARTIST MONOGRAPHS

PUBLISHER
Editora Cobogó

BOOK FORMAT
Paperback, 8.5 x 10.25 in. / 144 pgs / 70 color.

PUBLISHING STATUS
Pub Date
Out of stock indefinitely

DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2018 p. 110   

PRODUCT DETAILS
ISBN 9788555910210 TRADE
List Price: $29.95 CDN $39.95 GBP £27.00

AVAILABILITY
Not available

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EDITORA COBOGó

Sonia Gomes

Edited by Isabel Diegues. Text by Solange Farkas, Ricardo Sardenberg, Paulo Nazareth.

Sonia Gomes

This first monograph on the extraordinary Afro-Brazilian sculptor Sonia Gomes (born 1948) brings together around 100 images of her works. The book traces the path of this artist who, by transforming found and donated materials such as fabric and wire by twisting, tying and sewing, creates sculptures that describe her history as an artist of African descent. Born in Caetanópolis, a town with an important textile industry, Gomes grew up in the midst of textile factories and the strong presence of her grandmother—a black woman, a healer and a midwife, who taught her everything about the basics of sewing. The book includes essays by curators Ricardo Sardenberg and Solange Farkas, as well as a textual work by artist Paulo Nazareth made especially for this volume.


Featured image is reproduced from 'Sonia Gomes.'

Sonia Gomes

STATUS: Out of stock indefinitely.

FROM THE ARTBOOK BLOG

CORY REYONLDS | DATE 5/8/2018

My work is black, it is feminine, and it is marginal: Sonia Gomes

My work is black, it is feminine, and it is marginal: Sonia Gomes

"Lullaby" (2016) is reproduced from Sonia Gomes, the first monograph on the self-taught Brazilian sculptor. The daughter of a white father and black mother, Gomes was orphaned very young and raised until the age of five by her maternal grandmother, a midwife and faith healer who taught Gomes how to bind, braid and bundle textiles. Later raised by her father's wealthy family, Gomes studied law before turning to art. "Of course my work carries the South," she is quoted by Solange Farkas, "My work is black, it is feminine, and it is marginal. I am a rebel. I never worried about masking or stifling anything that might or might not fit standards of what is called art. I always sought nonconformity with things that are established. I had to overcome a lot of obstacles because I'm a woman, because I'm black, because I was too old to be considered one of Brazilian art's young talents. Even here, people found it difficult to understand my work. People reject our roots, they feel more comfortable with what comes from abroad. We're prejudiced against ourselves. My work is Brazilian." continue to blog


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