Title: The transition of tattooing within culture and time: the connection between contemporary art and the art of tattooing
Author: Georgia-Lee KeirPublication Year/Date: May 2024
Document Version: Fine Art Hons dissertation
License: CC-BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/4.0/
DOI: https://doi.org/10.20933/100001303
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Abstract
This dissertation will study the anthropology of tattooing in current society, discussing the history of tattooing and general body modification. This research paper will help better understand the sociogenesis of tattooing in modern culture and society through the lens of the new generation. This research paper will critically analyse the works of Apo Whang-Od, Don Ed Hardy, and Kirsten Holliday. The intent of this dissertation through research is to revise cultural tattooing and how the evolution of tattooing has transformed into an expressive art form as opposed to the perception of history’s controversial tattooing past. The first chapter will discuss the current trending aspect of tattoos, and the anthropology of the tattooed today. This will help evaluate when and why tattoos have become a trend and how we identify them as a form of self-expression, referencing the work of Michael M. Atkinson. The second chapter critically analyses tattooing in ancient culture, modern culture, and the utilisation of tattooing as a tool in neolithic times, referencing the works of editors Frances E. Mascia-Lees and Patricia Sharpe in ‘Tattoo, Torture, Mutilation, and Adornment’. The final chapter of this dissertation will establish the connection between contemporary art and tattoos, evaluating the expression artists' influence today to transfer paint to canvas and needle to skin, referencing Don Ed Hardy tattooist and printmaker. Finally, this body of research asserts the relevancy and permanency of tattooing as an art practice and raises cultural awareness of tattoo stigmas carried throughout history. This dissertation is very personal and infused into my current lifestyle as a tattoo apprentice. I feel I must understand how tattooing got to where it is today through previous cohorts, cultures, fashion, and societal trends.
Acknowledgment’s
I would like to thank my friends, family, and the kind staff at Duncan of Jordanstone for the consistent support and creative opportunity. A special thank you to my mentor Darren Parkin for granting me the opportunity of a lifetime as his tattoo apprentice. My apprenticeship has granted me knowledge and a great appreciation for the practice of tattooing which made this dissertation an enjoyment to write.
The Transition of Tattooing within Culture and Time: the connection between contemporary art and the art of tattooing.
Introduction
For centuries tattooing has played different roles in different countries, continents, and cultures. Tattooing has flourished in the present day and is embraced as a contemporary art form by this current ‘woke’ generation. This research paper will discuss and explore the diversity tattooing offers, as well as the perspective of others, such as older generations, religious groups and other cultural views that stir controversy upon the subject of tattooing. The first chapter the Anthropology of Tattooing in Modern Society discusses why tattooing has been released from a closed box and now hits 26% of the British population with numbers only growing and the public becoming more accepting (Team, 2023). This chapter studies the emotions experienced before, during and, after the experience of being tattooed, such as the endurance of pain, withstanding judgment or sometimes judgment being mistaken for curiosity, and the possibility of tattoos being addictive. The anthropology of tattoos differs for each person and does not have one common denominator, I uncover this topic of why people get tattoos and what satisfaction it brings to them afterwards. For example, a feeling of sorrow, the process of grieving someone is unmatched, and the pain of a tattoo is a great distraction and an even better memorabilia to walk out of the tattoo shop with, in essence for some people it is a coping mechanism, exploring the form of self-punishment. The second part of the first chapter details the history of tattoos and why tattoos were taboo in the early 18th-1900’s, discussing Victorian beauty standards in comparison to being a tattooed person at this time. As well as touching on the subject of tattooing in prison and its popular use within gang culture, tying in with the unreputable stigma tattooing had gained and to some people still has a bad connotations. For my final part of chapter one, I open a
discussion of tattooing having a new beginning starting roughly in the 2000’s the decade of transformation explored by Valerie Forgeard. The discussion of where tattooing was discovered and how people reacted evolved into what tattooing is and means in today’s society. Chapter two researches tattooing throughout history and how it was used as a form of punishment, the roman empire is an example used in this chapter as well as the holocaust used similarly however, it was mostly used to mark prisoners opposed to punishment.
Chapter 2:2 studies cultural tattooing from history to the present day, the relevancy cultural tattooing has in our modern world and the importance of cultural tattooing. Apo Whang-Od, a famous tattooist from Buscalan is my main reference in this chapter to guide the discussion and conclude the importance tattooing brings to cultural communities as well as the impact cultural tattooing has on small villages with tourist attractions finding appeal for cultural tattooing. The last chapter is about the connection between contemporary art and tattooing, recognising that tattooing has not always been considered an art form and what had changed to gradually have tattooing slip right under the nose of contemporary art and nestle into a firm spot of visual and a truly permanent art form.
Chapter 1
1:1 Anthropology of Tattooing in modern society
Tattooing and body modifications have been one of our current decade’s biggest trends stated by Kinesiologist Michael Atkinson in his book Tattooed: The Sociogenesis of a Body Art (2003). Atkinson explains why we as humans feel like we should modify ourselves in this generation to feel comfortable and to fit in with this generation's constant flow of new trends. Atkinson often refers to the feeling of confidence, suggesting body modification such as
tattoos, piercings and plastic surgery being viewed as an investment. Investing in ourselves and spending hundreds or even thousands of pounds on ourselves is encouraged by people around us, especially with the pressure on social media there seems to be an expectation of not just looking good but looking perfect. Atkinson quoted that
“We live in an era in which people are expected socially to engage in a full gamut of bodymodification practices, from the routine (e.g. haircut) to the physically traumatic (e.g. breast augmentation).” (Atkinson, 2020)
Body modification has rapidly inclined over the past few years and has quickly gone from taboo to modern society's most common beauty standard of body enhancement amongst young people. Body modification gained popularity in the 1970s, when fashion, music, and disco’s flourished, also being branded the ‘Decade of Transformation’ by Valerie Forgeard (2023), founder and director of World Citizen Artists (WCA). The public grew tired of political scandals such as the 1972 Watergate scandal as well as the ongoing Cold War that had been continuing from 1947-1991 (Forgeard, 2023) It does not come as a surprise that the public wanted to escape political fiascos and do something rebellious, an easy distraction.
Body modification naturally became an escape from reality for many people, and eventually became fashionable to have a dainty tattoo on your wrist or completely covered head to toe in tattoos. As with many other trends, humans have an impulse to keep up with the latest trends as celebrities infatuate their fans with their latest new things. Arguably speaking, when tattoos gained popularity, the public felt as though they also had to hop onto the bandwagon of another trend as opposed to being tattooed as of self-infliction, with inspiring also getting tattooed, celebrities such as Rhianna, Justin Bieber, Ariana Grande, Dwayne Johnson and so on.
Atkinson also relates to his own experience of receiving tattoos, he explains from the moment he walked into a tattoo parlour to the moment he walked out he felt invigorated with confidence, adrenaline and, pain an extremely conflicting feeling which is all part of the excitement. Atkinson touches upon the subject of the addictiveness of being tattooed and where it has led him stating that
‘I thought a single tattoo would suffice, and that I would be satisfied in doing what I had always dreamed about that one time. But I have now been tattooed by artists across the country, with both of my arms adorned in tattoo sleeves.’ (Atkinson, 2020)
Atkinson following the statement above, admits that receiving just one tattoo is not enough to feel satisfaction, the excitement that comes with the process of being tattooed cannot be replicated until you are eventually engulfed and proud to be covered in artwork. This provides evidence of tattoos being addictive not just because of the pain, which is typically known to be the most addictive part, but the adrenaline that takes you to the final piece and knowing the pain endurance process is not easy, recognising not everyone can handle the pain, is enthralling without question. Even though the consequence of being tattooed is withstanding pain or judgement from others who do not agree with tattoos, people still collect them, because although there is a negative component of having a cluster of needles inseminate multiple layers of the skin, there is still a massively positive outcome that outweighs the negatives. After being tattooed there is a feeling of accomplishment and pride for enduring pain whilst gaining a meaningful tattoo or simply gaining a tattoo that is for the artwork/artist or even just to capture a memory. There is a beauty to the permanency of tattoos, almost a comforting idea to have a tattoo that commemorates loved ones, objects, faith, or anything that is a reminder of a purpose in your life that is carried with you every
day. The negatives mean so little when a tattoo means so much to you. This statement can only be said for some, not all tattoos go to plan, with the risk of infection, blow-outs, allergic reactions, improper aftercare, and potential miscommunication between the artist and client, tattoos are certainly not meant to be for everybody.
1:2 Victorian Politics of Tattooing
Tattoos and body enhancements are generally accepted now in the 21st century demonstrated by Atkinson in the previous statements however, before tattooing gained popularity in the 1970’s, body modification was seen to be indecorous and thoroughly frowned upon Research shows that women, in particular, believed that it was fully acceptable to consume arsenic to achieve the pale look women so desperately longed for, as well as the usage of ammonia to taint the lips red, or a nice hot bleach bath to whiten the skin in the 1900 Victorian era, which was more accepted and greatly encouraged (Sanders, 2023) however, it was bizarre for a woman to have a tattoo opposed to the extreme beauty standards that were set in Victorian times that ended in fatality for some women (Sanders, 2023). Deadly beauty enhancements were highly encouraged in Victorian times and comparing tattooing to the consumption of arsenic which was a part of the standard Victorian beauty regime seems cruel to pass judgment on tattooed women which was practised to divide and create aesthetics removing themselves from the fatal Victorian beauty trends. Although tattoos and being a heavily tattooed person, in general, were frowned upon, heavily tattooed women were alien to the public in most Western countries. Women who were heavily tattooed in the early 1800s to the mid-1900s were seen to be completely misunderstood as it was seen as ‘unladylike’ and completely inappropriate that a woman would decorate themselves in such a way that a
gentleman would not consider attractive for this era (Thompson, 2015). Tattooing carried hatred towards an act that was never initially intended to be harmful towards anyone, it started with the intention of healing and medicinal purposes (Olsen, 2010) but instead was practised as an art form and therefore its introduction to the UK almost two centuries ago strung along the idea of tattooing in association with mutilation due to its foreign origins. Beverly Yuen Thompson the author of Covered in Ink: Tattoos, Women and the Politics of the Body (2015) delves deeper into the story behind women’s tattooing and the judgement that comes with it. Thompson often referred to a paramount theme of herself, as a heavily tattooed woman in our current generation, gaining unwanted attention being a heavily tattooed Asian woman with arm sleeves of subject matter that are typically known to be more masculine. She experiences strangers interrogating her with questions such as why she chooses to cover her skin with tattoos. and why she would choose the designs she chose as well as what others think about her tattoos. There is an undeniable frustration Thompson experiences with strangers around her consistently being pushy. Although, there is a more subtle and sometimes persistent curiosity towards tattoos nowadays, comparing this to a more aggressive and almost fearful approach that people felt towards tattoos in the early 1800s1900’s. This further emphasises the progression tattooing has made within each generation, although it has been a long and slow process, it has gradually become more accepted by the public and although there is still a long way to go, tattooing is becoming a contemporary art practice that connects the human body to the artist, equating to an individual and personal art form.
Tattoos stereotypically were associated with criminals, sailors, gangs, and veterans, this made an older generation, religious groups, and employers sceptical of anyone who had tattoos due to its unfavourable past, especially if you were a heavily tattooed person in the early 1800’s
to the mid-1900’s in the UK. Tattoos were not taken lightly and were seen as a caution as it was known to be a threatening aesthetic and considered unusual that someone would want to undergo a painful experience willingly. Tattoos prompted a rough and rugged look which was to ensure inmates looked the part and, in some cases, tattooing is expected by other prisoners. Criminals typically want to be heavily tattooed to establish higher social positions in prison and make each of the inmates clear as to which gang they were socially engaged with or simply who the toughest inmate is. Tattoos present prisoners with a raw imprint on other inmates also being taken as a warning signal inside and outside of the institutions. This alone left the public with a sour taste in their mouth upon the subject of tattooing because of its heavy usage in prisons and is still a well-known prohibited pastime done in the present day in most institutions across the globe (Jaafari, 2019).
1:3 A New Beginning
With a deep investigation, there is an answer as to why tattoos and body modification were seen to be actively criticised. In the early 1800s when missionaries and evangelists sailed around the globe to continents such as Asia and Africa where cultural tattooing, piercings, and scarification were discovered by missionaries, they were startled to find tribes covered in these extreme body modifications of gauges of the lips, ears, and nose, though it was a symbol of tribal culture, ignorance is bliss in that case and generation (Isaac, 2020)
However, the history of being someone who had tattoos has been widely cynical and largely judged in the UK and the US, decades and almost two centuries later times have changed, and tattoos are spreading like wildfire. Tattooing is now seen as a great way to express yourself and embody a new confidence that tells a story and starts conversations (Jackson, 2022).
Lauren Jackson, writer of the article Skin Deep: THE ART OF THE TATTOO (2022), collaborating with photographer Everett Dennison, focuses on the positivity that follows being tattooed and how tattoos positively impact people who are giving and receiving tattoos.
Jackson features interviews with heavily tattooed customers from Sarasota, US, and essentially asks each person why they love being tattooed so much with the reoccurring answer of intimacy between the art practice of being tattooed and even the process of discussing your tattoo ideas before being tattooed is completely individual and even as far as sacred to some.
‘Once a signal of one’s affiliation with the American counterculture, the tattoo is now widely embraced and celebrated in the mainstream. Tattoos are personal to both client and artist, and the best ones express a collaboration between the two parties, with the client presenting a broad idea and allowing the artist to interpret it and inject their artistic inspiration into it to give it life.’ (Jackson, 2022)
Jackson explains the intimacy between the artist and the client, each of them discussing and brainstorming ideas until a final drawing has been drawn onto paper and then permanently etched onto the skin. A process that should never be rushed and instead embraced, leading to becoming a memory that will reside in your skin and remain there forever, the only way of ridding the tattoo is by laser removal an intensive surgery that breaks down the ink molecules until they are dissipated in time and lots of sessions. Jackson encourages the public to see the inner workings of a tattoo, emphasising the individuality of these unique tattoos. She further explains the artistic talent of the artists featured in Dennison’s photography work that has gone into the client’s ideas and how a simple explanation from the client is then brought to life by the artist as she states. This indicates how tattoos can be impactful based on the
experience between an experienced artist and a client who has a blank canvas and lots of creative ideas. However, tattoos are inevitably permanent, unlike a piercing that can come and go as and when you please. The difficulty of having tattoos is that people grow and change, the tattoo that you got when you were young and care-free could grow to be something you hate, not to mention the ageing process of the tattoo which fades and what once was a quirky reference on your skin turns into an unrecognisable blob that needs to be hidden under clothing just to be concealed.
Going back to the works of Michael Atkinson, he also mentions in his writings that tattoos and their possession of economic status follow and encourage the appeal of tattoos. Tattoos certainly do not come cheap. Depending on the artist and region tattoos can cost an arm and a leg! (literally). Tattoos ooze economic status and are an indicator of someone who may be doing well for themselves. Investing in yourself and spending excessive amounts of money to be heavily tattooed is a notion of someone with deep pockets which naturally would be alluring. You know what they say about confidence being key, feeling sexy and attractive for yourself dominates the law of attraction, wearing artwork on your skin can be compared to buying a flattering piece of clothing that is designed only for you. Tattoos radiate a mysterious aesthetic that gravitates theoretically towards everyone who loves a good romcom about a typical tall, dark and mysterious person.
In the 21st century, looks are everything and tattoos can emphasise an individual’s personality and create a window into their life, showing vulnerability according to The Fearless Man article/vlog of 2016 vulnerability is one of the “most attractive qualities” in today’s society (Begin, 2020). Tattoos gained popularity for reasons such as the statements above of attraction, personal motive and confidence, although with deeper investigation
Contemporary art takes the hand of tattooing and elevates the popularity of tattoos. There is an extensive range of tattoo styles as a growing number of contemporary artists pursue tattoo
apprenticeships, utilizing their style of artworks and designs, and transforming them into tattoos, demanding that tattooing is an art form and a contemporary art expressionism. Tattoo Artist Kirsten Holliday based in Portland, United States demonstrates contemporary art practice within her work and style showing skill from composition, colour, and shading techniques and creating an almost Disney effect with her designs. Holliday’s tattoo designs are completely nature-based and undoubtedly have similarities to Vincent Van Gogh's ‘Almond Blossom’ (1853 – 1890). Tattoos are progressively becoming artworks opposed to the standard tattoos that incorporate classic tattoo subjects, for example, a rose, anchor, compass etc… contemporary artists are popularising artworks made for the human body bringing a whole new type of canvas into the art world.
Chapter 2
2:1 Tattooing and Markings
This chapter highlights the key points of tattooing as well as general body modification/marking within culture and antecedents, to address the reprimands attached to tattooing as well as commendations in history. This section will analyse the works of Frances E. Mascia-Lee and Patricia Sharpe editors and part writers of the book ‘Tattoo, Torture, Mutilation, And Adornment - The Denaturalization of the Body in Culture and Text’ (1992) exploring the critical analysis of cultural ‘denaturalization’ and tribal practices. Tattooing cannot be traced to one specific place of origin, as tattoos have been dated back with evidence to approximately 1994 BCE (Olsen, 2010) however, tattooing has greatly
evolved from this time and comes within many forms and methods between cultures and continents.
Tattoo origins have been found evident across the globe, from Egypt, Japan, Africa, Samoa, ancient Rome and so on. Tattooing amidst the B.C., B.C.E and, A.D. era was a period in time when the Greeks and Romans were well known to use tattooing as a form of punishment and humiliation (Dinter & Khoo, 2018). Slaves and criminals were the foremost victims of tattoo markings. The Greeks were amongst the first, next to the Persians, to introduce tattoo markings of slaves and shortly after the Romans followed in the Greeks' footsteps (Olsen, 2010). This punishment was introduced in the 4th / 5th century B.C.E., most slaves, except for women, were most likely tattooed, (Kamen, 2015) and there were many assorted reasons as to why this may happen to a slave. Commonly slaves would attempt to escape from the soldiers forcing the Greeks to devise a solution to this problem, which was to tattoo slaves with the script ‘Stop me, I’m a runaway!’ (Dinter & Khoo, 2018) this was to ensure the slave would return as well as prevent them from trying to escape in the future however, the punishment of being shackled, tattooed and, most likely being whipped on top of that may already be enough for the slave to then give up and fabricate an obedient slave the Greeks barbarically constructed. More often the Greeks and Romans also tattooed the slave’s foreheads, this was believed to show stigma between the slave and the superior, completely detaching humanity from the slave and with that comes the superior gaining ownership over the slave. Nevertheless, Constantine originally an army officer part of the Roman Empire who was later promoted to deputy emperor, had strong beliefs in Christianity stating that “the human face was a representation of the image of god and should not be disfigured or defiled.” (Saniderm, 2023). This act of faith from Constantine saved many slaves from the humiliation of being permanently marked on the face and brought humanity back for slaves who would later be released and able to live life beyond their past slavery without the permanent
reminder tattooed on their forehead. Constantine may have found inspiration within Leviticus
19:28 an Old Testament written in the 5th Century – B.C.E. Torah which wrote;
“You shall not make gashes in your flesh for the dead, or incise any marks on yourselves”.
19:28 Leviticus
This Old Testament is believed to be referring to paganism however Leviticus may have had more impact than intended. Tattooing since then has been taboo inside and outside cultural tattooing. With religious groups growing stronger and beliefs growing thicker, tattooing was still in connection to torture and marking and was deeply frowned upon for all the right reasons as tattooing slaves as a form of punishment and ownership was terminated because of Constantine’s faith in Christianity. Considering this was edging nearly 2,000 years ago, the idea of tattooing used for marking human beings seems deranged and ancient however, during the Holocaust of 1941-1945 tattooing used for marking people returned and brings trauma and pain to many people to the present day
Tattooing during the Holocaust was used to separate labour prisoners from those who suffered in the gas chambers and did not receive tattoos (Holocaust Encyclopedia). In connection to the Greek and Roman slave markings, the holocaust prisoners were also detached from humanity and people were mutated to numbers when a tattoo was forcibly drawn into their skin. SS officers only saw these people as numbers and treated them as such, this also was seen as a higher stigma in the concentration camps as it was superiors against prisoners. Tattoos for a long time for many people have been a symbol of pain and suffering, it has been a tool to detach humanity from many people, in turn tattooing made a reputable name for itself as the dictatorship of powerful men weaponized and abused tattooing and the permanent marks it remains on men, women and children
2:2 Cultural Tattooing
Apo Whang-Od is one of the world’s oldest living tattoo artists at the shy age of 106 years old, Apo Whang-Od continues to tattoo in this present day carrying on her father’s legacy of traditional Batok tattooing. Whang-Od has made herself and the humble mountain village in Buscalan, Philippines, well known worldwide and has brought great attraction to the small Buscalan village. Her tattooing has brought plenty of food and wealth to her village in which tourists receive a tattoo in return that will last a lifetime. Thousands of tourists visit her every year to be tattooed by the luminary herself (Nepomuceno & Carpio, 2023). Whang-Od offers only one design of tattoos which consists of three dots on the arm of the tourists, each dot representing herself and her two grandnieces’. Batok traditions are being kept alive by Apo Whang-Od’s grandnieces Grace and Elyang who had watched and learned from Whang-Od from a very young age Batok traditional tattooing incorporates strong shapes and intricate designs that represent important symbols or spiritual objects that are simplified into pattern designs that caress the body and are believed to protect the receiver of the traditional Philippian tattoos. The Buscalan community have tattooing rooted deeply within their origins and keeping traditions like tattooing and body modifications alive within not only Buscalan, yet all cultures who use tattooing as a salient tool, is vital to continue these traditions and keep history alive, arguably to keep the world more diverse and interesting
“Some styles of non-western tattoo articulate an even more complex relationship between bodily form and surface pattern. This more abstract tattoo follows and highlights aspects of bodily form. Such abstract patterning which follows the contours of the body - like that on
the shoulders of the Igorot man whose photograph James Clifford uses a symbol for the impenetrability of the non-Western (164) – suggests the ways in which a culture constructs the body, reading some features as of significance and failing to recognize others.” (MasciaLees & Sharpe,1993 Chapter 8 page 147)
Cultural tattooing is commonly done to signify the body by drawing attention with bold lines and various shapes that wrap around the skin bringing a new dialogue to the saying your body is a temple. Apo Whang-Od’s older works were typically larger and are true to Batok traditions of eastern tattooing, the tattoo designs embraced the body, and the designs were symbols of many culturally important Buscalan entities. Whang-Od’s method of tattooing is done with a bamboo stick that is attached to a thorn at the end, this tool kisses the skin and is struck at the base of the bamboo with another stick, impaling the skin continuously until the ink becomes apparent. This method of tattooing is undoubtedly unsanitary and there is a huge risk of infection, however, this practice has been ongoing for centuries and is massively sacred to the Buscalan village. Tattooing in Buscalan represents good health, good fortune, protection, and beliefs of a passageway into the afterlife, many of the designs are ancestorial and have great meaning to Buscalan villagers (Nepomuceno & Carpio, 2023). The risk of infection seems so small when Batok tattooing grasps an empowering gateway of understanding and preserving this tradition that will live on for centuries to come.
“We use the practice of tattooing as an image for contemporary theories that conceive culture or history as writing on the body.” (Mascia-Lees & Sharpe,1993)
Frances E. Mascia-Lee and Patricia Sharpe describe cultural tattoos to be considered as a cryptic scroll that exhibits visual stories about culturally significant events or symbolism that
is affixed to cultural tattooing traditions. The importance of continuing these traditions is crucial for villages such as Buscalan. It ensures the continuous growth of small villages, as well as maintains historical roots employing cultural assets such as tattooing and body modification, which celebrates more than our bodies yet, also celebrates the transition into manhood or womanhood which is a common tradition withheld in Philippian culture (Vogue). Cultural tattooing is a vital part of ancestorial stories written on villager’s bodies that carves into the skin and soul to be later passed on to the next generation until you are carried on into the afterlife where cultural tattoos are believed to be a token to enter the afterlife much like the Egyptians believed (Nepomuceno & Carpio, 2023).
Tattooing surrounding eastern and northern American countries alongside Buscalan is also widely celebrated within communities and tribes across the globe. The same properties, techniques and symbolism are similarly obtained for tattoo procedures or applications however, the history and ancestorial descendants vary from each region, and each community has their unique ideologies and beliefs. Nevertheless, the majority of cultural tattoos connect when seeking good fortune and protection, with ongoing research the afterlife also seems to be a reoccurring theme utilized in Eastern, Northern American, and African tribal tattooing (Olsen, 2010). The technique of tattooing within culture and history has remained the same if not, very similar, with the confidently poked and prodded skin using a sharp object that is then rubbed in with a carbonated or a sap concoction, or simply dipped into ink. The skin is left to heal or scar over the broken layers of the skin leaving a high risk of infection, as aftercare remains minimal in developing countries, where medicine is not easily accessed. Although there is a higher risk that an infection will occur and, in some cases, spread, communities that practice cultural tattooing have different methods of healing processes that
rely on natural remedies to heal the body and have remained a continuous practice amongst certain tribes for centuries.
“North American Apache and Comanche warriors rubbed earth into battle wounds to make scarring more visible and flaunt them within the tribe, while the pigmies of New Guinea treated infections by rubbing herbs into incisions in the skin, causing permanent scarring.” (Olsen, 2010).
Social status is made apparent in tribes such as the North American Apache and Comanche tribes, as these ‘tattoos’ are a statement of intrepidity and strength that is established through these open wounds saturated with dark herbs and interpreted as a tattoo. African tribes also have a reputable tattooing history and differ in some ways from other cultures. Scarification is commonly used; however, the scar tissue is tinted with soot or other dark herbs to create a tattooed appearance. Generally, African tribal tattooing is a way of dictating social roles within tribes, the leader of the tribe would typically be more heavily tattooed than others, establishing who the strongest of the tribe is and createing clear and constructed leadership (Amplify Africa, 2021). Cultural tattooing is the base and foundation of what tattooing has transformed into today, it has migrated to countries all across the world and has different origins and meanings to not only countries as an entirety but also has different meaning to individuals, whether tattooing is for or against your faith, a part of your culture, inflicted forcibly as a marking, or on the brighter, more modern side, for the art which also ties into culture.
Chapter 3
3:1 Contemporary art and tattooing
Contemporary art in 2023 is exceptionally diverse, with a vast range of techniques, styles, materials, and canvases, tattooing has arguably taken contemporary art by storm. An increasing number of artists have learned this practice, artists such as Shawn Barber, Tim Lehi, Mike Davis, and Alison Woodward are only a few of many inspiring artists with a tattooing career background. Artists that are mentioned above have helped encourage a better status of tattooing to escape outdated stereotypes as well as break the rough social stigma tattooing has carried throughout history. A great example of another contemporary artist who completed a tattoo apprenticeship is the famous Don Ed Hardy, who had completed a degree in printmaking and took on tattooing as a career. Don Ed Hardy, otherwise known as Ed Hardy from his signature clothing line, had gained access to traditional Japanese tattooing in which tattoo master Horihide allowed Hardy to study him and learn his culture as well as techniques (Hardy Marks). This is a huge honour considering Japanese tattoo heritage was one of the first countries to practice tattooing as an art form (Lucas, E). Hardy adopted a similar style and technique from master Horihide and traditional Japanese designs however, the American tradition is infused within Hardy’s work, and this is apparent in his still trending garments that were released in the early 2000s. Hardy’s brand is a collaboration between tattooing and fashion, a completely distinctive clothing brand that cannot be replaced or recreated and infuses both of his most memorable achievements, shaping both his degree and career choice into a successful business. Ed Hardy essentially creates removable
tattoos that you can change whenever you feel, perfect for someone who may feel conflicted about getting a tattoo and fears the commitment a tattoo is most known for, its permanency.
“There is no pat answer to the questions “What do people get tattooed?” any more than asking “Why do people make art?”. Its primal and offers unlimited potential discourse. At its base, as with all other arts are play, irrationally and mystery. In a well-known statement Picasso said that “the goal is not to find, but to seek”. By developing hand/eye coordination and learning to trust our intuition, we can aim at a state of transmission and transcendence which gives physical form to subtle forces and have some fun along the way. Regardless of the medium, the works left behind are clues to the invisible man or woman.” (Hardy Marks)
Art is art, Hardy expresses how important inclusiveness is and offers valuable advice to all artists which is to keep an open mind and not to be scared to try new things and experiment with the gift of creativity. Arguably contemporary art has welcomed tattooing with open arms and artists such as Don Ed Hardy are supported by plenty of artists which contributed to his huge success, Hardy has paved the way for young ambitious tattoo apprentices as well as inspiring young artists in general. Hardy has created a spotlight for tattooing that represents all and only good things about tattoo stigmas and has undoubtedly played a critical role in the growth and addition of tattooing within the contemporary art world. Art surrounds us and offers purpose, tattooing holds contemporary art by the hands and offers permanency that some may be afraid of, but others can embrace. Tattooing has become a diverse form of contemporary art in a multitude of ways, the human canvas offers a new technical way of application such as scratching artwork into the skin to create a clean outline, the tools vary from as little as one needle to up to a hundred compressed needles that slips into a basic motor that runs the needles back and forth. The simplicity of tattooing carries a newly elegant
reputation that offers comfort and identity to people, contemporary art provides a similar service of comfort without enduring the pain however, not as personal, permanent and unique to everyone, which is why tattoos have arguably speaking broken outdated stereotypes and social stigmas and can rest as a contemporary artform permanently.
Conclusion
To conclude, tattooing has a vastly diverse history and present counterculture, from cultural symbolism to historical travesties and its transition into finding its way into contemporary art with the help of many great artists. Tattooing has come a long way from what it used to be, tattoos in previous generations were collectively a disappointing counterculture used as a form of punishment or torture, most people shunned tattooing for its bad reputation and rightfully so, however, the practice itself was mistaken as a weapon and the people who used it as such should be held accountable opposed to the practice itself. In more recent years tattooing has flourished and is being recognized for the importance it carries, such as the anthropology utilized to heal a broken heart or boost your confidence, as well as the cultural importance tattooing has to many cultures, which aids third-world countries by attracting tourists that are happy to pay or trade goods in return of receiving a tattoo.
In the first chapter, we opened a discussion about the anthropology of tattooing, with the works of Michael Atkinson’s ‘The Sociogenesis of a Body Art’ brought new perspectives and ideas of defining tattooing and what it could mean to individuals as well as viewing tattoos as almost a materialistic commodity and a status of wealth in modern society. Victorian beauty standards are researched and delving into the history of tattooing’s bad reputation because of its past, how it was discovered to the prison culture exchanged between inmates. To conclude the first chapter, we end with what tattoos can mean to people which is a personalised
experience gained with an intimate process between artist and human canvas which helps create identity and elevate self-esteem.
The second chapter highlights significant points of history marking and cultural tattooing. Artists such as Apo Whang-Od gives tattooing a whole new motive and evidently aid small villages in third-world countries because of the success Whang-Od has delivered and developed. The booming tourist attraction in Buscalan fascinates the Western world for many reasons such as the old-fashioned methods of application and the symbolism Batok traditions create for this village. Although Batok traditions and many other cultural tattooing hold great value to many people within these communities, the risk of infection and other outdated methods are called to attention in this research report. We finally discuss the importance of maintaining cultural tattooing within the non-Western and Eastern world to continue the living testaments of heritage and identity that tattooing has brought throughout history, tribes, and masses of different cultures across the globe.
For the final chapter, we debate whether tattooing has a place within contemporary art, researching artists such as Don Ed Hardy and tattoo master Horihide, two talented artists who bring elegance, culture and new beginnings to the previously abused practice that is tattooing. Hardy brings tattoo counterculture a new look with his clothing brand emphasising the art and skill tattooing takes demanding tattooing be taken seriously. With much research, tattooing has gained a reputable name, with many artists showing just how diverse tattooing can be. However, its past is a concoction of disappointment, resentment, and labelled as a mutation and never seen from the perspective of being misunderstood. It is justified to acknowledge the past, learn from former mistakes and keep an open mind about the choices people make on their own bodies, tattooing has evolved into an art form without question.
Contemporary art is more diverse and inclusive in modern society as tattooing finds its place after overcoming societal judgements and finding peace within creating an identity for many people including myself within contemporary art, permanently.
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