Customizing the Body (PDF file) - Print My Tattoo
Customizing the Body (PDF file) - Print My Tattoo
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