Atlanta’s Pink Trap House
Reimagining the Black Public Sphere as an Aesthetic Community
Bibliographic Data
| ID | 15030230 |
|---|---|
| Authors | Rhana A Gittens (corresponding author) |
| Year | 2021 |
| Volume | 24 |
| Issue | 2 |
| Pages | 434-455 |
| Publication date | 2021-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Theory & Event (JOURNAL) |
| Journal identifiers | ISSN: 1092-311X • E-ISSN: 2572-6633 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/tae.2021.0021 |
| OpenAlex | W3155050978 |
| Language | EN |
Rapper 2 Chainz’s Pink Trap House, a bubble-gum pink home created as a symbolic representation of drug-infested ghettos, became an Atlanta landmark in summer of 2017, drawing in hip-hop enthusiasts from across the world. By addressing an audience in an aesthetic performance that disrupted white space, the Pink Trap House is a representative anecdote, synecdotal of the larger production of the Black aesthetic community . Using critical rhetorical analysis, this essay develops the concept of Black aesthetic community as a social space produced by the Black public in response to the destruction of the Black private sphere
Aesthetics · Archaeology · Architectural engineering · Art · Art history · Atlanta · Literature · Media studies · Political science · Politics · Public space · Public sphere · Representation (politics · Rhetorical question · Sociology · Visual arts · White (mutation · Discourse Analysis in Language Studies · Engineering · History · Law · Media Studies and Communication · Rhetoric and Communication Studies
| Highly cited | No |
|---|