Customizing the Body (PDF file) - Print My Tattoo
Customizing the Body (PDF file) - Print My Tattoo Customizing the Body (PDF file) - Print My Tattoo
155 Conclusion and give money to its creators, then it is likely to be consensually regarded as art (see Peterson. 1983; Bronner, 1986; 146-148). The appreciation of members of upper-class "taste publics" (Gans, 1974; Lewis. 1981) is. in short. a source of "cultural capital" (DiMaggio. 1987). Value and esteem are afforded on the assumption that those in positions of power are especially qualified to separate the artistic wheat from the base cultural chaff and to determine a product's artistic merit. In contrast. objects and activities (for example. bowling balls, country music, break-dancing. professional wrestling. tattoos) that are valued and consumed by members of the "inferior" classes or by those in stigmatized social networks have little chance of acquiring the honorific artistic designation. 3 Finally. since whether or not something comes to be regarded as art is. to a major degree, dependent on whether it is promoted as art and how those promotional activities proceed (see Lewis. 1986), concerted social action plays a considerable part in increasing or reducing an object's chances of artistic legitimation. When production personnel. their enterprises. and the resultant product are sponsored by an organized social group that possesses significant promotional resources, the chances that the product will be defined as art and the producers defined as artists are significantlyenhanced. Lack ofan organized base of support and formalized promotional structure impedes the process of artistic legitimation. An even greater impediment to a creative practice's artistic candidacy is generated when organized forces come to be marshalled against that activity. Artistic definition is especially difficult to achieve if governmental agencies regard the product or the production process as presenting a moral or physical danger and take legal steps to regUlate it or prohibit it entirely (Becker, 1982: 176-191) (see Figure 4 for a summary presentation of these points).4 THE ARTISTIC REDEFINITION OF TATTOOING Given these factors that increase or reduce the likelihood a product will be defined as art, the production process defined as artistic, and the producer ascribed the honorific title of artist,
156 Conclusion Figure 4. Factors Affecting a Product's Definition as Art Promoting Characteristics A. Product Features 1. Historical or cross-cultural connection to creative practices 2. Uniqueness 3. Overt display of aesthetic characteristics, evidence of technical skl1l 4. Collectlbility 5. Use of conventional materials B. Production Features 1. Producer has artistic reputation and elite class characteristics 2. Organizational promotion 3. Employing conventional production process C. Art World Response 1. Focus of academic discussion and critical attention 2. Display In museum and gallery settings 3. Purchase/collection by elite. affluent consumers Impeding Characteristics Lack of historical or cultural antecedents Mass production Lack of aesthetic content, little evidence of creator talent Lack of "artlfactuallty," no defined Investment value Use of unconventional resources Producer Is anonymous, lacks social status No organizational support. organized constraint on production or organized presentation as "non-art" Engaging In unconventional production activities Product deemed unworthy of legitimating attention Lack of museum display or gallery marketing Consumers primarily drawn from low status. socially dlsvalued groups
- Page 131 and 132: 104 The Tattooist available to them
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- Page 231 and 232: 204 Selected Tattoo Artist Websites
155 Conclusion<br />
and give money to its creators, <strong>the</strong>n it is likely to be consensually<br />
regarded as art (see Peterson. 1983; Bronner, 1986; 146-148). The<br />
appreciation of members of upper-class "taste publics" (Gans,<br />
1974; Lewis. 1981) is. in short. a source of "cultural capital"<br />
(DiMaggio. 1987). Value and esteem are afforded on <strong>the</strong> assumption<br />
that those in positions of power are especially qualified to<br />
separate <strong>the</strong> artistic wheat from <strong>the</strong> base cultural chaff and to determine<br />
a product's artistic merit. In contrast. objects and activities<br />
(for example. bowling balls, country music, break-dancing.<br />
professional wrestling. tattoos) that are valued and consumed by<br />
members of <strong>the</strong> "inferior" classes or by those in stigmatized social<br />
networks have little chance of acquiring <strong>the</strong> honorific artistic<br />
designation. 3<br />
Finally. since whe<strong>the</strong>r or not something comes to be regarded as<br />
art is. to a major degree, dependent on whe<strong>the</strong>r it is promoted as<br />
art and how those promotional activities proceed (see Lewis.<br />
1986), concerted social action plays a considerable part in increasing<br />
or reducing an object's chances of artistic legitimation. When<br />
production personnel. <strong>the</strong>ir enterprises. and <strong>the</strong> resultant product<br />
are sponsored by an organized social group that possesses<br />
significant promotional resources, <strong>the</strong> chances that <strong>the</strong> product<br />
will be defined as art and <strong>the</strong> producers defined as artists are significantlyenhanced.<br />
Lack ofan organized base of support and formalized<br />
promotional structure impedes <strong>the</strong> process of artistic<br />
legitimation. An even greater impediment to a creative practice's<br />
artistic candidacy is generated when organized forces come to be<br />
marshalled against that activity. Artistic definition is especially<br />
difficult to achieve if governmental agencies regard <strong>the</strong> product or<br />
<strong>the</strong> production process as presenting a moral or physical danger<br />
and take legal steps to regUlate it or prohibit it entirely (Becker,<br />
1982: 176-191) (see Figure 4 for a summary presentation of <strong>the</strong>se<br />
points).4<br />
THE ARTISTIC REDEFINITION OF TATTOOING<br />
Given <strong>the</strong>se factors that increase or reduce <strong>the</strong> likelihood a<br />
product will be defined as art, <strong>the</strong> production process defined as<br />
artistic, and <strong>the</strong> producer ascribed <strong>the</strong> honorific title of artist,