I’ve been reading a book entitled “In the Flesh: The Cultural Politics of Body Modification” by Victoria Pitts to try and gain a better understanding of the mixed cultural significances of tattooing and body piercings, amongst an array of other forms of body modifications. Its easy to think of body modifications as existing on a spectrum of cultural acceptability; So that even though there has always been the presence of some form of body alteration in every culture.. Many forms are still seen as perverse and exotic.

“In all of these instances, the body is revealed as a space of important social significance. Body practices such as these show how the body figures prominently in our notions of self and community, in our cultural politics and in social control and power relations” (p.3).

I agree with this quote, what she is saying is that our initial impression of someone relies heavily on their aesthetic. This makes me wonder whether or not making assumptions based on visual cues is more than a social construct, but perhaps also a natural instinct. I know that in the animal kingdom mating relies heavily on attraction with body patterns. Natural selection ensures that undesirable genetic characteristics are bred out of the gene pool. Does this mean that tattoos are just a way to attract and obtain mates, or to repel predators (e.g. judgmental, close-minded people)?

            No, I believe that body modification is more than biologically driven but is often a social and political statement as well. “Nonmainstream body modifiers create not only spectacle and controversy but also new forms of social rebellion through the body”(p.2). It can be an aesthetic statement as well. Many people get tattoos as a form of decoration; body modifications can often function as permanent jewelry and makeup. “I’ve noticed trends with [those] who are doing it purely for aesthetic reasons. To me it seems they look to the people who are actually doing it as still freaks and derelicts… The fashionization of some forms of body modification, such as nose, naval, and eyebrow piercings, and small tattoos, is apparent throughout popular culture.” (p.80).

These views on the meaning of tattoos and other body modifications imply that we have total controls over our image, which is not always the case. “The subcultural body is not made socially powerful only by its intended messages but also by the “spectator’s gaze” which views and makes sense of that body”. For example, I often get different reactions to my tattoos based on the part of the city that I am in. Riding the 4 train from Brooklyn to Uptown Manhattan means gazes of disapproval from business commuters and people from diverse ethnic communities that retain their own cultural morays and view my tattoos as unpleasant or impossible to understand.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhATuaIjez4uiYl7ozVZrCwxXx8_7WM3XQBI7LU5nqK7EwRhaJ2KlLlZt962p784Kuxkpk0yYzga_COjheDKvf-Ie4A3aObfX5L7y5sXMv3E8Dm1HhycjOwLbrGJvRUdlPBcNnvqiWugFw/s400/Mishu+%26+Santa+4.jpg

Considering all the different modes of expression that tattoos encompass, political, sexual, aesthetic, biological, deviance, and then the various cultural and societal lenses to  be viewed, I think that tattoos are a continuously evolving art form that will adapt as society changes. This is captured perfectly by a quote from the book:

“These practices, at their most hard-core still highly deviant, undergo changes in meaning as the broader culture adapts to their presence on the cultural landscape" (p.80).

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6NdK3oUPjrn0hGp2cpG89uNToY0szOevN4BDOrOY4PU47_frdspfYuzaDQ0qSZ9vok8Y2hXcpUEQwlwOahNrdQ2H5p-JyPZmsskwfA2P2E4UrhksX7lcreCi14qdpfyeFSaKVRTOSQPFw/s1600/normal_face-tatoo.jpg

“The selves and bodies we construct in body projects are not ‘outside of power’, as Foucault famously puts it, but saturated with it… because body, gender, and other categories are seen as continually created in ongoing practices of embodiment they are de-essentialized, stripped of any “naturalness” or inevitability… this view affords the possibility of radicalism in body practice. Because the body-subject is socially constructed, it may be open to deconstruction and rewriting. Even though the body may be considered always already inscribed, it is never fully inscribed.”( p.40)

Quotes taken from: Pitts, Victoria. In the Flesh: The Cultural Politics of Body Modification. Gordonsville, VA, USA: Palgrave Macmillan, 2003. eBook.

In September 2006, the Pew Research Center conducted a telephone survey which found that 36% of Americans ages 18–25, 40% of those 26-40 and 10% of those 41-64 had a tattoo"

The following is some background information that I chose from Wikipedia. I felt that it was important to include this information to provide some background on the practice of tattooing, as well as history and cultural relevance:

Definition:

"A tattoo is a marking made by inserting indelible ink into the dermis layer of the skin to change the pigment for artistic, ritualistic or other reasons. Tattoos on humans are a type of decorative body modification, while tattoos on animals are most commonly used for identification or branding.

Practice:

Tattooing has been practiced for centuries worldwide. The Ainu, the indigenous people of Japan, traditionally wore facial tattoos. Today one can find Berbers of Tamazgha (North Africa), Māori of New Zealand, Hausa people of Northern Nigeria, Arabic people in East-Turkey and Atayal of Taiwan with facial tattoos. Tattooing was widespread among Polynesian peoples and among certain tribal groups in the Taiwan, Philippines, Borneo, Mentawai Islands, Africa, North America, South America, Mesoamerica, Europe, Japan, Cambodia, New Zealand and Micronesia. Despite some taboos surrounding tattooing, the art continues to be popular in many parts of the world.

Brief historical insight:

Tattooing has been a Eurasian practice at least since around Neolithic times. Ötzi the Iceman, dating from the fourth to fifth millennium BC, was found in the Ötz valley in the Alps and had approximately 57 carbon tattoos consisting of simple dots and lines on his lower spine, behind his left knee, and on his right ankle. These tattoos were thought to be a form of healing because of their placement which resembles acupuncture. Other mummies bearing tattoos and dating from the end of the second millennium BC have been discovered, such as the Mummy of Amunet from Ancient Egypt and the mummies at Pazyryk on theUkok Plateau.

Pre-Christian Germanic, Celtic and other central and northern European tribes were often heavily tattooed, according to surviving accounts. The Picts were famously tattooed (or scarified) with elaborate dark blue woad (or possibly copper for the blue tone) designs. Julius Caesar described these tattoos in Book V of his Gallic Wars (54 BC).

Variois Purposes:

Tattoos have served as rites of passage, marks of status and rank, symbols of religious and spiritual devotion, decorations for bravery, sexual lures and marks of fertility, pledges of love, punishment, amulets and talismans, protection, and as the marks of outcasts, slaves and convicts. The symbolism and impact of tattoos varies in different places and cultures. Tattoos may show how a person feels about a relative (commonly mother/father or daughter/son) or about an unrelated person.

Today, people choose to be tattooed for cosmetic, sentimental/memorial,religious, and magical reasons, and to symbolize their belonging to or identification with particular groups, including criminal gangs (see criminal tattoos) but also a particular ethnic group or law-abiding subculture. Some Māori still choose to wear intricate moko on their faces. In Laos, Cambodia, and Thailand, the yantra tattoo is used for protection against evil and to increase luck. In the Philippines certain tribal groups believe that tattoos have magical qualities, and help to protect their bearers. Most traditional tattooing in the Philippines is related to the bearer's accomplishments in life or rank in the tribe. Among Catholic Croats in Bosnia and Herzegovina, tattoos withChristian symbols would be inked on to protect themselves from the Muslim Turks.

Extensive decorative tattooing is common among members of traditional freak shows and by performance artists who follow in their tradition.

Medical tattoos:

Medical tattoos are used to ensure instruments are properly located for repeated application of radiotherapy and for the areola in some forms of breast reconstruction. Tattooing has also been used to convey medical information about the wearer (e.g. blood group, medical condition, etc). Tattoos are used in skin tones to cover vitiligo, skin pigmentation disorder.

Tattooing in contemporary society:

Tattoos have experienced a resurgence in popularity in many parts of the world, particularly in North and South America, Japan, and Europe. The growth in tattoo culture has seen an influx of new artists into the industry, many of whom have technical and fine arts training. Coupled with advancements in tattoo pigments and the ongoing refinement of the equipment used for tattooing, this has led to an improvement in the quality of tattoos being produced.

^{Logic behind the division in cutlural acceptance of tattoos and tattoo cultures:}

In many traditional cultures tattooing has also enjoyed a resurgence, partially in deference to cultural heritage. Historically, a decline in traditional tribal tattooing in Europe occurred with the spread of Christianity. However, some Christian groups, such as the Knights of St. John of Malta, sported tattoos to show their allegiance. A decline often occurred in other cultures following European efforts to convert aboriginal and indigenous people to Western religious and cultural practices that held tattooing to be a "pagan" or "heathen" activity. Within some traditional indigenous cultures, tattooing takes place within the context of a rite of passage between adolescence and adulthood.

Some stats:

Many studies have been done of the tattooed population and society's view of tattoos. In June 2006 the Journal of the American Academy of Dermatology published the results of a telephone survey which took place in 2004. It found that 36% of Americans ages 18–29, 24% of those 30-40 and 15% of those 41-51 had a tattoo. In September 2006, the Pew Research Center conducted a telephone survey which found that 36% of Americans ages 18–25, 40% of those 26-40 and 10% of those 41-64 had a tattoo. In January 2008, a survey conducted online by Harris Interactive estimated that 14% of all adults in the United States have a tattoo, just slightly down from 2003, when 16% had a tattoo. Among age groups, 9% of those ages 18–24, 32% of those 25-29, 25% of those 30-39 and 12% of those 40-49 have tattoos, as do 8% of those 50-64. Men are just slightly more likely to have a tattoo than women (15% versus 13%).

Christianity:

There is no consistent Christian position on tattooing. The early Christian Montanist movement practiced tattoing as putting signs or seals of God's name according to Rev. 7:3; 9:4; 13:16; 14:1; 20:4; 22:4.

Islam:

Tattoos are considered forbidden in Sunni Islam. According to the book of Sunni traditions, Sahih Bukhari, "The Prophet forbade [...] mutilation (or maiming) of bodies." Sunni Muslims believe tattooing is forbidden and a sin because it involves changing the creation of God (Surah 4 Verse 117-120), and because the Prophet cursed the one who does tattoos and the one for whom that is done. There is, however, difference of scholarly Sunni Muslim opinion as to the reason why tattoos are forbidden. The use of temporary tattoos made with henna is very common and is considered permissible in Muslim North-Africa and other predominantly Muslim nations such as Indonesia and Malaysia.

Jusaism:

Tattoos are forbidden in Judaism based on the Torah (Leviticus 19:28): "You shall not make gashes in your flesh for the dead, or incise any marks on yourselves: I am the Lord." The prohibition is explained by contemporary rabbis as part of a general prohibition on body modification that does not serve a medical purpose (such as to correct a deformity). Maimonides, a leading 12th century scholar of Jewish law and thought, explains the prohibition against tattoos as a Jewish response to paganism. Since it was common practice for ancient pagan worshipers to tattoo themselves with religious iconography and names of gods, Judaism prohibited tattoos entirely in order to disassociate from other religions. In modern times, the association of tattoos with Nazi concentration camps and the Holocaust has given an additional level for revulsion to the practice of tattooing, even among many otherwise fairly secular Jews. It is a common misconception that anyone bearing a tattoo is not permitted to be buried in a Jewish cemetery.

Tattoos can have health risks: 

Because it requires breaking the skin barrier, tattooing may carry health risks, including infection and allergic reactions. Modern tattooists reduce such risks by following universal precautions, working with single-use items, and sterilizing their equipment after each use.

Tattoo removal is an option:

While tattoos are considered permanent, it is sometimes possible to remove them with laser treatments, fully or partially. Typically, black and darker colored inks can be removed more completely. An ink trademarked as InfinitInk is designed to be removed in a single laser treatment. The expense and pain of removing tattoos will typically be greater than the expense and pain of applying them." (This information was taken from Wikipedia)

Tradition Borneo Tribal Tattoo Images...

 

Tattooing Pigs

"Wim Delvoye (born 1965 in Wervik, West Flanders) is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work is focused on the body. He repeatedly links the attractive with the repulsive, creating work that holds within it inherent contradictions- one does not know whether to stare, be seduced, or to look away. As Robert Enright wrote in Border Crossings, "Delvoye is involved in a way of making art that reorients our understanding of how beauty can be created." Wim Delvoye has an eclectic oeuvre, exposing his interest in a range of themes, from bodily function, to the Catholic Church, and numerous subjects in between. He lives and works in Belgium, but recently moved to China after a court of law judged his pig tattoo art projects illegal." (Wikipedia) 

           "Pigs have more to do with the human being than they would ever admit." 

               -Wim Delvoye

I personally feel that Wim Delvoye's tattooing of pigs is social commentary about the relationship between human beings and other animals, or perhaps even more simply about human narcissism. It is commentary about the humans' innate feeling of superiority over all other animals, and the sanctimonious relationship we have with animals: who we exploit/mistreat/torture, as well as rely on for medical research, and subsequently our lives. The idea of making this backwards logic into an art exhibit gives of an aura similar to that of graffiti, or street art, due to it's element of détournement:

"a technique developed in the 1950s by the Situationist International and consist in "turning expressions of the capitalist system against itself." Détournement was prominently used to set up subversive political pranks, an influential tactic called situationist prank ..In general it can be defined as a variation on a previous media work, in which the newly created one has a meaning that is antagonistic or antithetical to the original. The original media work that is détourned must be somewhat familiar to the target audience, so that it can appreciate the opposition of the new message." (Wikipedia)

While, a part of me cringes with disgust in the fact that he is tattooing (causing physical pain) to the pigs for an art exhibit, I think that the way society justifies our horrible treatment of animals, I can not look away. Vim's pigs really make me think about a lot. Compared to the PETA videos I've seen, the pigs in this video are on holiday... which allows me to get over the initial shock.

In a way, Delvoye is FORCING people to utter hypocritical words in their outrage against the tattooed pigs. "He is hurting them", "it is wrong to slaughter them"... any argument against the exhibition can be easily refuted just by realizing what we already do to animals.




VIDEO OF WIM TATTOOING PIGS:


http://www.fwi.co.uk/blogs/lincolnshire-farming-blog/2008/11/francis-bacon.html


ARTICLE ABOUT HIS BAN FROM EXHIBITING IN CHINA:

http://myartspace-blog.blogspot.com/2008/09/wim-delvoye-is-banned-from-exhibiting.html

PHOTO GALLERY:


http://www.wimdelvoye.be/artfarm.php#


It also brings up another idea that I have considered frequently: the social identity of tattooing as taboo sub-culture in most societies throughout the world. Animals do not recognize tattoos. The pigs don't notice the tattoos on themselves or each other, as Vim mentions, they don't identify with the superficial outer skin.
This may sound silly.. but in many ways animals are more wise due to the absence of frivolous human consciousness.

Wim Delvoye's work can be looked at from many perspectives, even simply that he views tattooed individuals as pigs.

Tattooing is taboo in itself, and the fact the he is tattooing consent-less animals, he is perhaps commenting on our cultural domestication and the illusion of individuality.

Do the tattoos on the pigs have the same function as tattoos on humans?

"interpretation is the revenge of the intellect upon art" (Susan Sontag)

What is the function of art in capitalistic society? Its interesting to look up synonyms for 'art'. Words like technique and craft are followed by cunning, slyness, guile, deceit. One of my first answers to "What do you want to be when you grow up?" was that I wanted to be a poet. My mother's friends and neighbors used to laugh at me when I said this, they told me there was no career in poetry. I believe that many forms of art are so negatively regarded in capitalistic society because the arts are provocative and they act as an outlet for expression, more so than speech, in my opinion. Just as art is negatively perceived, the idea of body art has been construed negatively in American society; and as art takes a subordinate stance because it cannot be controlled, explained, or regulated, the idea of tattooing fits into the stigma surrounding art in Western culture. It is the reason that tattoos are considered atrocious, poignant and destructive in Western culture.

As a young teen, the realization that individuals were to be confined to their occupations, in such a way that they are completely dependent on them for their survival, fostered the realization of my own imprisonment. I think this ideology is an accurate explanation of the United States capitalist economy, and it gives Marx a sort of prophetic essence. In this picture, society acts as a process of human labor, production, and the attribution of value to commodities; this picture leaves out something vital: art. How can art be quantified under these circumstances? Art to me parallels love, humanity, culture, style, individually and expression. Art illustrates the social atmosphere and documents the society's economic climate through time. So then art is not separate from the financial system from which it arises, it is also a material creation of some value. This changes the function of art as something pure and uncontaminated by capitalism. The artist is doing his/her art for a reason rather than simply for the sake of creating art. It also has an idealistic sense, and through it humanity is idealized. 

"Interpretation must itself be evaluated, within a historical view of human consciousness" ( Susan Songtag, Against Interpretation, 7). Contemplating this I begin to think about the art from non-European cultures, for example Indian or African artists and artwork, and how little they are valued in our culture (as well as other European cultures, I'm sure). I am also sure this is changing more present-day because we are at a new stage in the evolution of societies. But, getting back to my point, in the curricula of the two art history courses which I have taken in college, the Euro-centric perspective that is taken for granted not only equates to the lack of discussion about important art from around the world, (which also takes up a very small section in the textbook), but, additionally, we fail to take into account the significance of other cultures as equally valuable to our own. 

Sontag's point that real art makes us nervous, so we then have to reduce it to its content (interpretation), we then tame it reminds me of people's usual comments or judgements about my tattoos . The first thing they ask ninety five percent of the time is "What do they mean?". Sontag brought me some much needed insight that this is done because the idea of tattoos makes people nervous, and that they have to minimize the aura of my tattoos down to a pool of small ideas of conception of meaning. If I were to really answer the question "What do they mean?", I would have to literally sit down for hours and provide my life narrative. Tattoos to me are the most abstract and subjective form of art, perhaps besides street art, because they are almost* completely individual and personally signified. (I say almost because of course there are styles of tattoos, and tattoos books from which people insist on imitating ideas.) I strongly believe that this is the reason tattoos are taboo in societies that hold European-based ideals or any type of nationalistic identity.  "Interpretation, based on the highly dubious theory that a work of art is composed of items of content, violates art. It makes art into an article for use, for arrangement into a mental scheme of categories" (Against Interpretation, 10). 

What is our current method of interpreting art?  Our emphasis on capitalistic ideals shape our conceptions of style and art, as well as art forms: namely tattoos. 

DiMaggio, ( From 1982. "But Who Created the 'Creators'?"), introduces the idea of culture as a nineteenth century commodity created as a way for status groups to dominate through exclusivity. This idea reminds me a lot of the articles we read about fashion and how the elite upper class created style as a means of class differentiation and domination. Once there is a criteria and important aspects of art or society are distinguished from their insignificant counterparts, there exists a representation of the mentality behind the reproduction of art or style as a commodity. In other words, it describes the logic and intention behind social significance and shows us the true tenor of high culture. 

Equality, a dominant American theme, starts to mean something else, something more dark along the lines of the individual becoming a statistic, our needs generalized and a loss of distinction. Humans are seen as goods, or property.  With this change comes the death of the notion that we are unique and powerful beings, the demise of art and human imagination. This explains our social reality of cliches and "invariable types" offered in our industry of culture which created people who are copies of a copy. 

Benjamin, using Marxist theory as a basis, describes the change in the intention behind the replication of art and artifacts due to capitalism which "exploit[s] the proletariat with increasing intensity, but ultimately [creates] conditions which would make it possible to abolish capitalism itself (p.1). This piece is interesting because it introduced a new idea to me, the idea of the element of aura in art. After reading this article, while getting tattooed, I asked my tattoo artist, as well as the other artists in the room, if they thought there was a difference between an original work of art and a copy of the work of art. At first my tattoo artist shook his head no, but the others said that there was an obvious difference. When I asked what that difference was, the boss said that when you see an original there is an emotion and that a piece of art that has been around for a long time emanates an accumulation of a meaning. He was describing just what Benjamin is talking about. 

I drew connections between the content of Adorno and Horkheimer's piece and Benjamin's article. Benjamin's theory of the replication of art can be seen as an aspect of the culture industry's replication of 'invariable types'. Just as art loses its aura, individuals lose a quality of individuality and deny the social function of art. To deny the social function of art denies the individuality quality of the human. (Adorno, T. and Horkheimer, M. (1994). "The Culture Industry: Enlightenment as Mass Deception".)

All of the points I've mentioned from these articles, while not referring specifically to tattoos, can be generalized to describe the role of tattoos within capitalistic societies. From the birth of the practice of tattooing in ancient civilizations, tattoos carry a legacy of barbarism because they are regarded as a primitive art form, derived from inferior cultures.  

Tattoos based on literature: A website

This website is focused on tattoo that are based on literature. Such as Shel Silverstein, Harriet The Spy, and Peter Pan..
The use of child literature as inspiration for tattoos has become a very popular occurrence. I think this is because people feel comfortable with the idea of childhood memories as a permanent part of their body.
I found out about this website about two weeks ago when I went into a Boarders book store after class one day..
A young employee walked up to me, she recognized my tattoo's Galatea and Pygmalion reference and  that my Alice In Wonderland tattoo was from the early version of the tale- the one my grandfather read as a child.
Comment!!! What do you think of lit tattoos, are they silly??

Literature tattoos: 'The Word Made Flesh'

Borneo's Disappearing Tattoo Tradition Documentary..

"From halfway around the world come two adventurers who will stop at nothing to see for themselves what's left of Borneo's once glorious tattoo traditions. Forging their way into a country that was home to perhaps the fiercest head hunters the world has ever known, these two Canadians are hot on the trail of some of Sarawak's last remaining tribal tattoo masters. A small hand-tap tattoo, of only a few square inches, takes many hours to pound into the flesh with a needle on a stick.... "

The link that follows is one of 6 YouTube clips from 'The Vanishing Tattoo Documentary'..
All six can be found on YouTube :)


The Vanishing Tattoo Documentary

Dakota's tattoo in process..

Dakotas 1st Tattoo/ Sleeve Interview by Nina

http://www.geekytattoos.com AND a note about my pictures.

http://www.geekytattoos.com/

This website is supposed to be for geeky tattoos. While some are geeky most of them just suck. At least that's my opinion. I feel like this sit is a good representation of American tattoo consciousness, or whatever you would call it.. What I mean is, a lot of them are logos, common images, and are reminiscent of some sort of capitalistic mentality.  I think if we took pictures of tattoos from places with a more sacred tattoo tradition they would be much more awesome. What do you think?


NOTE: CLICK ON ANY IMAGE TO ENLARGE TO SEE DETAIL

Jon Clue tattoos Dakota

So, I for the life of me could not get Jon Clue to answer any of my questions, he is very difficult and likes to be impossible. Last night, my friend Dakota and I took a cab to Jon Clue's apartment/tattoo studio/ bachelor pad in Bushwick for her appointment to get her FIRST tattoo. Which happens to be a rain forest sleeve. O__O

We get there, Jon is finishing editing the drawing of the outline (because we complained about a phallic flower and ball-like protrusion), and then I begin to try to sneak in questions about how he began as an artist and how he refers to his art/tattoo style. I ask "Did you do art as a kid?", he just says "No." and laughs. I call him an asshole and tell him that its not for the blog that it's just me asking him.. he responds "You're creepy why are you interviewing me?" He likes to make me frustrated. 

I ask him what he considers his art.. he answers "I don't consider it, I don't even think about it, you wont get any normal answers out of me." I told him that I didn't want normal answers, just for him to answer however he felt.. he rolls his eyes and I call him an asshole again. He likes it. He puts the stencil on Dakotas arm, here are two pictures of it, pre-tattoo.

Dakota is obviously really nervous and excited. She has NEVER had a tattoo before, she has had a lip ring that she got re-pierced once.. I hype her up, tell her she's tough and she can do it, and show her more pictures of Jon Clue's work. I explain to her how rare it is for someone to get their first tattoo drawn  by an amazing artist. How rare it is to get a sleeve outline as a first tattoo. She is a crazy lady for doing this, her parents are going to be in SHOCK! She needs a couple of drinks and a cigarette and then the four hour tattoo session began. As Dakota is getting tattooed, I talk (a lot) and DJ awesome tunes and we all vibe, Jon keeps bitching about how he's jealous that he cant drink with us, I tell him to shut up and work ;)

 Dakota handled it like a trooper. The middle of her arm around the elbow and tender area where the arm bends was the hardest. She laughs when the pain gets to be too much, she demands a couple of shots.

Mizu is hanging out with us, hes being such a good kitty, for once, probably because he was kind of sleepy from just waking up from a nap..













And here it is! The outline of the flowers are red.. that isn't [all] blood.

We wrap it up in plastic wrap and tape it, I tell her how to take care of it (with antibacterial soap and aquaphor), and we go to a bar a couple of blocks away and meet up with Dakotas older cousin Anderina, who has been sending Dakota supportive and hilarious text messages the whole time, for example, "Aye mami! Dakota has bigger cojones than I do!".. after the bar we went home.

I have a video interview of the pre-tattoo jitters, but Im trying to figure out how to upload.. I can't save it because I don't have Pro, so ill figure it out and put it up soon!

Here is a link to Dakota's Facebook https://www.facebook.com/profile.php?id=517302701

Tattoo Artist Jon Clue

Sick? Yeah. You'd better believe it. 

Jon Clue does tattooing as a side job, to earn a little extra cash. His career as an oil painter has allowed him to really explore his style. 

Here are two of his oil paintings. They are large canvases. 

 

 

What's awesome is when I met Jon it wasn't to be tattooed. We met on Myspace (yeah, I know), and I looked at his art and was absolutely speechless, which is the normal reaction I have learned from showing him off to friends.. Well, either that or they can't shut up. 

He invited me to come hangout at his place, with him and his cat Mizu, who is a hairless Sphinx. Mizu is vicious in the cute way, he stalks guests and makes many attacks during a conversation.. But watching Jon Clue hug and kiss him makes it all okay. 

Even if you're totally against tattooing, because its permanent and you think its stupid, or its against your religion or because "how will you look when you get old?!", or whatever.. there is no way you can look at this work and say that it isn't amazing art. 

 Here is the savant at work, lol, but really.. He's an awesome guy. Very down to earth, humble, focused.. I always feel lucky to be his friend :) 

China..

http://www.nytimes.com/slideshow/2008/08/22/sports/olympics/0824-TATTOO_12.html

While tattoos have become more readily accepted in American culture (something like 40 percent of Americans have some kind of body art), in China they've been taboo in the true sense of the word, and are just beginning to be understood..

Why do you think that is?
How do politics affect ideology surround the idea of being "individual" and "self expression"..?

Slideshow: Oldschool sailor tattoos

http://www.nytimes.com/slideshow/2009/05/22/arts/20090523-tattoo-slideshow_index.html

POST COMMENTS!

Do you dig?

God Bless America

Georgiya's random immediate thoughts

Tattoos are definitely permanent. I haven't gotten one yet. If I get one I would get it during a time period in my life that is really glorious, so that besides the message (or complementarily to the message) the tattoo also reminds me of that time period.
I think I would be down to get a tattoo that means Faith, in an ancient human language, like Sanskrit. Faith is really all you have in life, ever, if you have anything.
Tattoos are so popular, it's hard to be creative enough to not feel like a conformist by getting one.
But I do really like them and their ancient legacy.

~ G.

Sossy Gorman's History of tattoos in ancient cultures..

Here is a link to another YouTube video of an American Tattoo Historian, jk..LOL  What do you think? Is he full of it or does this demonstrate the American perspective of tattooing.... http://youtu.be/cKbqwybmNsU

Japanese tattoo art

http://www.youtube.com/watch?v=a7zEwCtA_T0

Samoan tattooing significance

http://youtu.be/2H8RUg25UPk