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Come Sunday: Photographs

Thomas Roma [Hardcover] [Jul 15, 2002] Henry Louis Gates and Thomas Roma

7 ratings by Goodreads
ISBN 10: 0870701223 / ISBN 13: 9780870701221
Condition: Collectible; Very Good Hardcover
From PottersvilleBooks (Silver Spring, MD, U.S.A.)

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About this Item

[SIGNED] New York: Museum of Modern Art, 1997. Square format hardover in pictorial dust jacket. 111 pages illustrated throughout with b/w gravure photographs. SIGNED and Inscribed by Roma on the half-title page. With the associated, "Let The Church Say Amen" postcard laid in. A monograph of Thomas Roma's photographs of black churchgoers made in Brooklyn in the early 1990s, published in conjunction with the MOMA exhibition organized by John Szarkowski. Introductory essay on the church in African-American life by Henry Louis Gates. Bumping to dj, else very good overall condition; no owner marking, NOT EX-LIBRARY. (pc). Bookseller Inventory # 39-B4DU-GT2Q

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Bibliographic Details

Title: Come Sunday: Photographs

Binding: Hardcover

Book Condition:Collectible; Very Good

Dust Jacket Condition: Dust Jacket Included

About this title

Synopsis:

In 1990, Thomas Roma began photographing the exterior of houses of worship in his native Brooklyn, which features more churches per square mile than any other place in the United States. One morning, the pastor of an African-American Christian church housed in a former Jewish temple invited Roma to join the congregation with his camera, explaining that God's work was not in the buildings, but in what went on inside. Roma eventually photographed more than 150 services in 52 African-American churches, richly fulfilling his desire "to make religious pictures for modern times." Only 100 copies of Come Sunday remain available, and each of these has been signed by the photographer himself.

Review:

A dramatic collection of photographs depicting the services of black churches in Brooklyn, Come Sunday illustrates the power of faith in a community riddled by unemployment, poverty, and crime. Focusing on the shine of a tooth, the thickness of a braid, the resolved tension of a hand clutching a bible, Soma uses subtle textures to mirror the diversity and complexities of the everyday humanness of his subjects. Within the walls of these sanctuaries, members of the congregation chat, crack smiles, doze, weep, cheer, and, of course, pray, all the while exhibiting extraordinary faith that, for many, lifts them above life's seemingly impossible burdens.

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