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Customizing the Body (PDF file) - Print My Tattoo

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162 Conclusion<br />

"The Aes<strong>the</strong>tics of Graffiti" at <strong>the</strong> San Francisco Museum of Modern<br />

Art. The showcontained both graffiti-influenced work byestablished<br />

artists and art-photographic documents of "real" graffiti. In<br />

his introduction to <strong>the</strong> exhibit's catalogue. Castellon called attention<br />

to <strong>the</strong> process of cultural imperialism whereby disvalued<br />

forms of cultural production are coopted. sanitized. and transformed<br />

into art.<br />

In general. this exhibition defines two main categories of<br />

graffiti. First, <strong>the</strong>re are traditional examples which are found<br />

on streets. buildings. doorways. hallways and sidewalks. By<br />

taking <strong>the</strong>se graffiti out of <strong>the</strong>ir normal environment. it is<br />

hoped that a new appreciation for <strong>the</strong>ir visual and aes<strong>the</strong>tic<br />

qualities can be achieved. Secondly. <strong>the</strong>re is graffiti art, an<br />

increasingly thriving and richly varied mode which draws<br />

emotionally. intellectually ancLbr Visually from <strong>the</strong> street graffiti<br />

of <strong>the</strong> everyday world. Through <strong>the</strong> process ojconscious<br />

integration by studio artists. graffiti thus become officially<br />

sanctioned ':fine art" (emphasis added. San Francisco Museum<br />

of Modern Art, 1978: 1).10<br />

It is imminently reasonable to anticipate that contemporary tattooing.<br />

with its demonstration of technical skill. consistent aes<strong>the</strong>tic<br />

appeal. organizational promotion. changing audience.<br />

gallery and museum exposure. and increasing academic and critical<br />

attention. will be at least as successful as was graffiti in<br />

achieving <strong>the</strong> status of a minor art form and acting as a source of<br />

stylistic innovation in established artistic genres. However. as we<br />

have seen. not all tattooists are in favor of disrupting <strong>the</strong> commercial<br />

status quo nor are all tattoo enthusiasts interested in seeing<br />

tattooing accepted Within conventional social circles. What is lost<br />

when a deviant cultural activity is coopted by agents of <strong>the</strong> institutional<br />

art world and gains-at least to some degree-artistic<br />

legitimacy?<br />

The power of tattoo. like that of street graffiti. is primarily derived<br />

from its ability to outrage members of conventional society.<br />

For tattoo devotees much of <strong>the</strong> appeal of tattooing comes from its

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