Dr Sofia Gotti - The Courtauld Institute of Art

Dr Sofia Gotti

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Dr Sofia Gotti

Associate Lecturer

Contact Details

Sofia Gotti completed an AHRC Collaborative PhD Studentship with Tate Research and Chelsea College of Art and Design. Her doctorate, supervised by Dr. Michael Arbury, Jessica Morgan and Tanya Barson, emerged under the aegis of the exhibition The World Goes Pop (on show at Tate Modern in 2015-2016), and focuses on 1960s Pop art practices in Argentina Brazil and Peru. She holds a BA from Central Saint Martin’s College of Art and Design (2010) and an MA from The Courtauld Institute of Art (2012). Sofia has previously taught at University of the Arts London, and in 2015–16 she was the Hilla Rebay International Curatorial Fellow at the Solomon R. Guggenheim Foundation working in New York, Bilbao, and Venice.

Teaching 2016-17

  • MA History of Art Special Option: Countercultures. Alternative Art in Eastern Europe and Latin America 1959-1989

Research interests

  • International art movements
  • Pop art
  • The modalities of North American cultural imperialism
  • Art and politics in South America
  • Counter-pornography and third-wave feminism
  • Primary research

Publications

  • Sofia Gotti and Marko Ilic, “Points of Origin: From a History of Alternative Art to a History of Alternative Institutions,” in Meredith A. Brown and Michelle Fischer (eds.), Collaborations and its Discontents, (Forthcoming, London: Courtauld Books Online, 2017).
  • ‘Popau, Pop or an “American way of living?” An introduction to From Stamps to Bubbles, by Aracy A. Amaral,’ in ARTMargins, (Cambridge, MA: MIT Press, Vol. 5, Issue 2, 2016). http://www.mitpressjournals.org/doi/abs/10.1162/ARTM_a_00150#.WIK0TrYrJAY
  • ‘A Pantagruelian Pop: Teresinha Soares’s “Erotic Art of Contestation,”’ Tate Papers, no.24, Autumn 2015. http://www.tate.org.uk/research/publications/tate-papers/24/a-pantagruelian-pop-teresinha-soares-erotic-art-of-contestation Reprinted in: Camila Bechelany (ed.), Quem tem medo de Teresinha Soares?, (exh. cat., São Paulo: MASP, 2017).
  • “A State of Alert: Eroticism as Political Activism in South American Drawing,” in Kelly Chorpering et. al. (eds.), The Wiley Blackwell Companion to Contemporary Drawing, (Forthcoming, [London]: Wiley Blackwell Publishing, 2018).
  • Sergio Lombardo: Gesti Tipici and Monochromes, (exh. cat, London: Sprovieri, 2017).
  • “Waltercio Caldas: An Introduction,” in Waltercio Caldas, (exh. cat., London: Cecilia Brunson Projects, 2017).
  • “Willys de Castro: From Paintings to Objects 1950-1965,” Arte Al Día, n. 152, 2017. http://www.ceciliabrunsonprojects.com/projects/willys-de-castro/
  • Liz Sánchez: Park, (exh. cat., Lima: Galería Lucía de la Puente, 2017).
  • Elsa Coustou, Lina Džuverović and Sofia Gotti, Artist Biographies, in Flavia Frigeri and Jessica Morgan (eds.), The EY Exhibition: The World Goes Pop, (exh. cat., London: Tate Publishing, 2015).
  • “Eroticism, humour and Graves: A conversation with Teresinha Soares,” N.paradoxa, Vol. 36 (London: KT Press, July 2015).
  • “Tales of Traumas: Wael Shawky’s Cabaret Crusades,” in Lucia Venturato (ed), Sole Luna Documentary Film Festival IX, (Palermo: SoleLunaDocFest, 2014).
  • Elena Forin (transl. Sofia Gotti), Biography, in Luca Massimo Barbero, Luca Nicoletti et. al., My weapon against Atomic is a blade of grass. Tancredi: A Retrospective, (exh. cat., Venice: Marsilio Editore, Peggy Guggenheim Collection, 2016).
  • Aracy Amaral (transl. Sofia Gotti), Aracy A. Amaral, “From the Stamps to the Bubble,” O Estado de São Paulo, Literary Supplement, April 27, 1968, in ARTMargins, (Cambridge, MA: MIT Press, Vol. 5, Issue 2, 2016).“

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