This past week, I spent a lot of time researching, watching videos (GQ Sports specifically), and writing down information with respect to my topic. What I’ve found is that every athlete I have looked at has gotten tattoos for a specific, meaningful reason. As I’ve continued my research, I have narrowed my thesis to focus on how athletes use tattoos as an outlet for many forms of self-expression. I focus on cultural identity, family identity, personal identity, and societal identity to break it down further. Tattoos are an emblem for the intersectionality between all of these forms of identity because they live on/with you forever. While athletes tend to lean towards getting a tattoo for a family member who significantly influenced their career, much of the decision to get tattoos has to do with personal desire for honoring something or someone important to them. Hearing about some of these NBA players like Jayson Tatum or Damian Lillard who pay tribute to their homes by having the names of the streets where they grew up or the towns. I have also spent time reading back through past readings which focus on the branches of identity and its relationship to identity, such as Kosut (2000) “Tattoo Narratives” piece.
Author: Jamie Fiedorek (Page 1 of 2)
Ryan Hope’s Skin [Film] is an examination and analysis into tattoo culture as a form of high art. The film merges famous, well-known artists like Jeff Koons with famous tattoo artists such as Damien Hirst, to design and in a way, distribute works of art to the public in a contemporary art project. The film shows at least six individuals who participate in this project and also shows some of the tattoo artists speaking on the matter. Something that truly resonates with me were the parting words of the last participant who spoke in the video, 31 year old Conrad Lochner, who described that this project was, in a way, “representing some sort of weird synthesis between two genres previously segregated” (Skin 38:36). Much of what this film did was depict a sense of how the contemporary art world is slowly accepting and realizing the potential of tattoos as a form of fine art. I will say that I felt like the participants who were selected, at least the ones who were shown and spoke in the film, seemed to have either criminal history or an extreme change in their life, the mention of drugs or alcohol seemed to be a present statement throughout each of the little biographies given by the participants, which I felt gave off the classic stereotype of who gets tattoos. I think the reason that this bothered me was because of the vast diversity in who chooses to get tattooed and that the individuals shown in that film all seemed to be very “stereotypical,” but maybe my understanding became jumbled.
To tie this in with Mifflin’s reading, I chose to do my artist presentation on Shelley Jackson, who was mentioned through the UC Berkeley Art Museum and Pacific Film Archive’s showing of Shelley Jackson’s “Skin,” a short story tattooed on volunteers word by word as she traveled the world. Mifflin primarily concentrates on the reasons for why tattoos have not gained recognition in the art world. The obvious reasons being the morality of selling someone as a work of art in addition to the ethical judgment of exhibiting a work that is a living, breathing, and functioning person. The last paragraph of this reading took note of the intersection of the contemporary art world and tattoo culture through the incorporation of “sub-legitimate tattoo imagery into [many visual artists’] work” and vice versa (Mifflin 97). Mifflin points out the inevitable interconnection of the tattoo culture and the art world by expressing the presence of art movements or styles like Cubism or tattoo techniques shown in both contemporary visual artists’ works and contemporary tattoo artists and their work.
The readings for this week’s discussion were informative in the evolving role and acceptance of tattoos with respect to both body and gender. I chose to read some of Margot Mifflin’s Bodies of Subversion: A Secret History of Women and Tattoo first which gave me clear insight into the connection between feminism, tattoos, and body. Personally, when recalling my own understanding of tattooing and women, I immediately go to the idea of self-recovery or the reclaiming of self-identity due to past abuse or experiences that have taken something from me that I want to be able to dictate in my own way. Mifflin’s choice of words in the following quote really resonate with me, “Tattoos appeal to contemporary women both as emblems of empowerment in an era of feminist gains and as badges of self-determination at a time when controversies about abortion rights, date rape, and sexual harassment have made them think hard about who controls their bodies—and why” (Mifflin 1). Although I think this kind of statement is continuously relayed in different words as a reason for being tattooed, I think that the idea of the tattoo as a form of non-verbal communication was relayed in many of these readings.
To feed off of that idea, Atkinson’s article, “Pretty in Ink: Conformity, Resistance, and Negotiation in Women’s Tattooing” opened up with an idea described by Shilling (1993, 1997) as “body projects,” when referring to the physical modifications of one’s body to reinvent or re-construct self-identity. What falls under the title of “body modification” is broad as even getting a haircut is considered body modification because one is changing a physical aspect of themselves. The more drastic examples of body modification are clearly plastic/cosmetic surgery, dieting, surgeries to repair body parts (knee or hip replacements). And then we come across tattoos as a form of body modification. I find that although we consider tattoos to be far more “permanent” than other forms of artistic body modification, we seem to forget that when deciding to get surgery because we need it for our well-being and ability to function. The primary concern of Atkinson’s article highlights how tattoos are studied and interpreted as “embodied signifiers of gender” (220). By exploring research focused centrally on feminist and profeminist body modification, Atkinson reminds us of the multilayering purpose of tattoos, both psychologically and physically. Kosut (2000) cultivates more conversation about ideas conveyed in the other articles and although this does not necessarily directly relate to Elias and Scotson’s theory of established.outsider social relationships expressed in Atkinson’s article, this quote expresses the psychological “layering” of tattoos in a way that I would have described: “No tattoo narrative fits neatly into one category; themes overlap, meld and merge within each story.” (Kosut 82).
The readings for this week targeted the somewhat subtle yet significant links between tattoos, subcultures, and sociology. Atkinson’s chapter, “Tattoo Enthusiasts: Subculture or Figuration?,” in The Subcultures Reader brought attention to the question of whether or not a ‘tattooing subculture’ existed. This was an intriguing question because as I have gained more understanding of the sociological role of tattoos in relation to cultures or communities, people see it evolve into part of a previously existing culture due to its increased presence in that period of time. Alix Lambert’s “The Mark of Cain” and Jacob Resneck’s “Russian Criminal Tattoos” both study the role of the tattoo, both the process and the product, in criminal subculture.
In researching for this presentation, I looked into the many styles or kinds of tattoos that exist. One of my sources mentioned 12 different styles which helped me to understand a broad definition of what each style consisted of. There were definitely tattoo styles that I knew very well and others that I had never heard of. When relating this back to what I would deem as “my typology,” I found that I was strictly drawn to styles that all fall under a similar artistic style, tattoos with clean, simple designs: minimalist, fine line, floral, abstract, or negative space. As I was looking for a tattoo artist to help me relay my typology, I found that Emily Reid, who works at Blanc Space Tattoo really matched what I think would emulate my typology.
Emily Reid’s tattoo typology varied from minimalist to floral to negative space and additionally did include some blackwork ones. At first, I was intimidated by the vast amount of tattooists that exist and were possible options for me to look at. Fine line and minimalist are both tattoo styles that have interested me since I began looking at tattoos. This is due to the fact that my artistic eye has always been present in everything that I do, including the organization and style of my room, the way I aspire to have my art appear, and the organization of my work as a whole. I also found that there was a personal aesthetic to her tattoos that stuck to me in a way that I would want to be perceived.
One of the reasons that line art appeals to me is its ability to be complex and simple at the same time, while the design or imagery may appear clean or simple, the deeper meaning could be personal or intimate to the tattooed. I also think that minimalist and line art styles are similar in the nature that they are portrayed and what they represent. The connections between the use of ink and the idea that “less is more” is applicable to both of those styles.
Reading the articles for this week’s class left me incredibly sensitive towards the significance of tattoos to a person and has made me more aware of what tattoos may symbolize for an individual.
While I will admit that going to private school as a child definitely cast a negative light on tattoos, my further understanding and comprehension growing into an adult has shifted my perspective due to the amount of time, effort, and psychological thought put into the tattoo process. Sarnecki’s “Trauma and Tattoo” synthesized the ways that tattoos have served as a way to communicate and overcome the struggles that the tattooed has experienced. Unable to verbalize these experiences, a tattoo allows those consisting of the public to analyze and create conclusions of their own as to what the tattoo may represent or symbolize. Sarnecki’s key-lock metaphor of tattoos is incredibly powerful as she states that “keys that unlock mysterious processes of memories, helping to unravel the tangled narrative strands that weave together a life story both unconventional and altogether human” (Sarnecki, 38). The amount of psychological thought that goes into the process of getting a tattoo is enormous and something that I cannot even fathom as each person internalizes and expresses their pain differently. Glenn W. Gentry and Derek H. Alderman’s “Trauma Written in Flesh: Tattoos as Memorials and Stories” evoked a sense of understanding that trauma and tattoos do not only fall into one category like sexual assault, which can commonly associated with trauma, but fall into categories of tragedy or loss. Sarnecki also highlights this in her article when describing how tattoos can function as a spiritual way to commemorate loss of a loved one and how these tattoos allow them not to forget such individuals or such experiences, but allow them to move forward and empower themselves.
To prepare for my national traditions presentation on Polynesian tattoos, my information was mainly gathered from Roberto Gemori’s The Polynesian Tattoo Handbook, which encompassed the design process, common symbols and motifs, and the importance of location, size, and placement on the body. I was intrigued by the complexity of the different styles that comprise “Polynesian,” some of these styles which will go into more depth as a separate presentation like Samoan or Marquesan. There is a common presence of geometric shapes and straight lines in all types of Polynesian tattoos. While there are a number of Polynesian tattoo styles, something common among all of them was the lack color (typically only black) and the use of straight lines and repetition. Polynesian tattooing is a sacred ritual and incredibly important to the cultural and social significance of an individual. The function of Polynesian tattooing is not only a performative art, as the practice of this ritual is incredibly selective, but those who practice are highly regarded as “tattoo masters” who are capable of understanding these symbols and motifs and have the ability to organize them in a way that reflects the journeys or achievements made by the woman or man. As a studio art major, the designs and motifs that are incredibly common and what they stand for were important to me in understanding the sacred significance of this to Polynesian culture.
During my research, I have also been taking a class based on Hollywood and was reminded of Maui in the movie Moana and his song “You’re Welcome” which displays his tattoos and how it is a way to show one’s hardships and possibly overcoming journeys. The distinct style and the story of Moana is based off of Polynesian cultures and I found it interesting the way that they portrayed the various tattoos as story lines for the demigod’s many tales.
Schildkrout’s “Inscribing the Body” continues to deepen our understanding and comprehension of the multifaceted purposes of the tattoo as a reflection of one’s identity. Schildkrout alludes to how some view tattooing, scarification, painting as rites of passage, possibly within specific cultures or communities. She mentions how Lévi-Strauss (1963) relayed the idea that the body is “a surface waiting for the imprinting of culture” (Schildkrout 321). Her review consists of three departments which interconnect disciplines in the humanities and social sciences. She explores work done by historians/anthropologists/literary scholars studying historical sources, ethnographic work existing on inscribed bodies outside North America and Europe which has been coined as ‘new ethnography,’ and bodies of literature that address contemporary Western body modification. Schildkrout conveys how Western body art has not only become a practice or fashion, but has become a factor in boundaries concerning gender, class, ‘high’ or ‘low’ culture. One of the major influences connected with Western culture’s acceptance of tattooing was and continues to be tribal practices. One of the points that has already been discussed in our seminar was the multifaceted nature of the tattoo as a form of identity, whether that be a negative connotation or not is dependent on the place, culture and time. She underlines the boundaries between three groups when unraveling tattoos—the first being self and society, the second being between groups, and the third being between humans and divinity (Schildkrout 338). Moreover, Schildkrout raises the proposition of how tattoos have been utilized “to express different kinds of identities in different social contexts,” (Schildkrout 322). She rectifies our understanding that while the body is a canvas, it is also a cultural landscape and where an individual defines and creates themselves.
Rubin’s “The Tattoo Renaissance” concentrates on the vitality and complexity of contemporary tattoo. Similar to the points made in Schildkrout’s essay, Rubin highlights the crossing of boundaries between social sciences and humanities—culture, sociology, psychology, history, culture, art, and anthropology. Rubin compares the vitality of the tattoo to that of magic, believing that the tattoo is the only thing that has remained somewhat mysterious and fascinating in that it comes not from an academic practice, but a more spiritual one. Rubin’s inclusion of images throughout his essay was insightful as one is able to understand and analyze more accurately the emotions and feelings that may have been brought about to create such tattoos.
Jane Caplan’s Chapter 10 of Written on the Body discusses specific investigations and studies of tattooing in Rumania, Spain and Belgium. Caplan uses the international criminology debate stemming from France and Italy-based investigations made by criminologists Cesare Lombroso (1836-1909) and Alexandre Cassalagne (1843-1924). Caplan’s essay focuses on three different studies conducted by Belgian criminologist Louis Vervaeck, forensic anthropologist and criminologist Nicolas Minovici, and criminologist Rafael Salillas. These studies further support the conclusion that European tattooing as a practice has repeatedly been denied to come from indigenous transport or influence. Moreover, these criminologists underlined the degree to which foreign influences led to the development of European tattooing. While Caplan states these points, she concludes her essay by asserting how the tattoo has become an emblem for cultural exchange, regardless of whether people have chosen to realize it or not. Caplan insinuates that the cultural transmission of European tattooing as a present practice comes not from “traditional” cultures, but from the survival of “savage” cultures and reminds us of the survival of the meaning of inscription in tattooing.
Abby M. Schrader’s Chapter 11 of Written on the Body recounts how Russian officials utilized branding as a way of preventing fugitives from opposing the status system that held the infrastructure of the Russian state. Body marking quickly became a marker for self-control and the ability to construct identity. This ultimately led to the development of a tattooing culture among criminals in Russia and the Soviet Union. Schrader’s essay leans on to the notion that bodily inscription was a form of self-construction and criminals’ ability to forge their own identities, but only when concerned in the official practices of status-ascription. Schrader continues this through conveying the status groupings process initiated by Peter the Great. His goal was to structure a well-ordered police state and anyone who defied the expectations of said system was “a rejection of Russian authorities’ power,” which resulted in officials developing new politics to address or correct these inadequacies (Schrader 177). Two types of exile in contemporary Russia: the first type of exile comprises those who committed serious crimes like murder, arson, robbery, brigandage, etc. The state stripped these individuals of their property, declared them dead civilly and exiled them to Siberia. Prior to the eighteenth century, those, of all social groupings, convicted of hard labour exile were subject to facial punishments like knouting. The second type of exile consists of those facing punishments for less serious crimes. These were people convicted of lesser crimes and those deemed troublemakers in communities.
Stephan Oettermann’s essay on tattooed entertainers in America and Germany appears in chapter 12 of Written on the Body. Oettermann refutes a common lie told by many of the tattooed individuals appearing in shows. I found it interesting that these entertainers would mislead people into believing that these entertainers were abducted by Indigenous peoples and forcibly tattooed. The understanding that tattooing in the nineteenth century was common amongst entertainers provides me with more questions as to what other reasons these people would resort to the conception that they had been abducted.
Reading “Chapter 5: The Renaissance Tattoo” by Juliet Fleming of Written on the Body was a dense reading that honestly left me confused. While I was able to highlight some themes and examples that were placed throughout the chapter, I could not find an organizational pattern and Fleming brought up names without any context or how they held significance to the tattooing world of art. Overall, I found that Chapter 5 brought forward various examples of the varying purposes of tattoo as an art form in Western culture.
Chapter 6 of Written on the Body was written by Harriet Guest and was structured in a way that was much easier to follow than Chapter 5. Guest’s essay focused on the ways in which British people sought tattoos in the 18th century to create perceptions. Guest also notes the influence of gender in the analysis of tattooing and its perception in appearances. Guest explores the way that gender and appearance play roles in the recognition of one being acknowledged as civilized or uncivilized. Guest uses’ Banks’s conception and observation of the blurring of gender definition to further understand “the feminizing elision of the comparison between male and female Tahitians and European beauties works to endorse a homogenized and universal notion of feminine vanity untroubled by the cultural specificities of ornament” pertaining to theories concerning masculine fashions in Reynolds’s Discourse (Guest 91). The paintings of Omai seen in the book allude to the notion that colonization is for the good of the people and colonizers are therefore, saving their souls. What was interesting was how Omai was described as having various tattoos, but the images shown in the book do not highlight them. The relationship between Omai, colonization, and the perception of tattoos remains complicated in our comprehension, but sheds light on how to further understand the ways in which people brought forward the mark of exoticism through tattooing.
Chapter 7 again brings forth the correlation between social class or status to tattoos. However, Anderson focuses on the voluntary ways tattoos, or referred to as Godna, were present in India. She describes the Caste System and its direct correlation to tattooing with regard to social class. Dalits (outcastes) were the most likely to have the most tattoos due to their low status in the social hierarchy, versus Brahmins, who were least likely to have tattoos. Anderson sheds light on the 1871 Criminal Tribes Act, which created a psychological relation between criminals and social class. The association of tattoos to crime became inseparable and thus gave the government the power to control social groups and identify criminals easily.
Both Chapter 8 and 9 discussed the presence and purpose of the religious tattoo and convict transportation to Australia for the overpopulation of prisoners in Britain. I found it interesting that Britain relocated over 162,000 convicts to Australia who were assigned to settlers and forced to do free labor.