Purifoy
Bibliographic Data
| ID | 4978445 |
|---|---|
| Authors | Roderick A Ferguson (0009-0008-2891-8135, corresponding author) |
| Year | 2020 |
| Volume | 119 |
| Issue | 3 |
| Pages | 447-460 |
| Publication date | 2020-07-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | South Atlantic Quarterly (JOURNAL) |
| Journal identifiers | ISSN: 0038-2876 • E-ISSN: 1527-8026 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/00382876-8601326 |
| OpenAlex | W3060188037 |
| Language | EN |
| References cited | 8 |
Purifoy: The Shit, the World, and Their Remaking" analyzes the assemblage artist Noah Purifoy's role in the Watts Rebellion of 1965, paying particular attention to Purifoy's position as the director of the Watts Towers Arts Center and as the artist and organizer of the exhibition "66 Signs of Neon," which was made from the debris produced by the rebellion. The article focuses on how the rebellion and the exhibition arose out of a community's attempt to contest its racial and economic predicaments and to fashion an alternative to them
Art · Art history · CONTEST · Exhibition · Political science · Shit · Sociology · The arts · Visual arts · Art, Politics, and Modernism · Law · Photography and Visual Culture · Visual Culture and Art Theory
| Citation velocity | historical |
|---|---|
| Highly cited | No |