Customizing the Body (PDF file) - Print My Tattoo

More documents

Recommendations

Info

Selected Tattoo Artist Websites Biomechanical Guy Aitchison: http://www.hyperspacestudios.com/ Aaron Cain: http://www.aaroncain.com/ Contemporary and Traditional Japanese Dutchman: http://www.dutchman-tattoos.com/ Sabine Gaffron: http://www.sabinegaffrontattoo.de/ Don Ed Hardy & Associates: http://www.tattoocitysf.com/ Hori Tsuki Kage (a.k.a. Shad): http://www.tattoobyshad.com/ Horiyoshi III: http://www.ne.jp/asahi/tattoo/horiyoshi3/ Junii and Bill Salmon: http://myspace.com/10117559 Shige: http://www.yellowblaze.net/ Tin Tin: http://www.tin-tin-tattoos.com/ Dark Art Paul Booth: http://darkimages.com/enter.asp Tim Kern: http://www.myspace.com/ymonster Liorcifer: http://www.myspace.com/liorcifer666 Dan Marshall: http://www.myspace.com/lastritesdanmarshall Ethan Morgan: http://www.myspace.com/ethanmorgan French School and Color Specialists Brandon Bond & Associates: http://www.allornothingtattoo.com/ Stephane Chaudesaigues: http://www.stephanechaudesaigues.com/tatouage/tattoo,paris.htm Tin Tin: http://www.tin-tin-tattoos.com/ Michele Wortman: http://www.hyperspacestudios.com/
204 Selected Tattoo Artist Websites New Skool Joe Capobianco: http://www.joecapobianco.com/tattoos/ Grime, Marcus Pacheco & Associates: http://www.primalurgesf.com/phil.html Adrian Lee & Associates: http://www.newskooltattoo.com/ Photo-realism and Portraiture Nikko: http://www.myspace.com/nikkotattsu Tom Renshaw: http://www.tomrenshaw.com/ Tin Tin: http://www.tin-tin-tattoos.com/ Bob Tyrrell: http://www.myspace.com/bobtyrrell Tibetan Tattooing Jondix: http://www.holytrauma.com/ Rinzing Thaptsangky: http://www.rinzing-tattoo.ch/ Tribal Alex Binnie: http://www.alexbinnie.com/tattoo_97_00.htm Trevor Marshall: http://www.oceanictatau.com/
Page 2:
CUSTOMIZING THE BODY
Page 5 and 6:
Temple University Press 1601 North
Page 8 and 9:
Preface to the Revised and Expanded
Page 10 and 11:
ix Preface to the Revised and Expan
Page 12 and 13:
xi Preface to the Revised and Expan
Page 14 and 15:
xiii Preface to the Revised and Exp
Page 16 and 17:
xv Preface to the Revised and Expan
Page 18 and 19:
xvii Preface to the Revised and Exp
Page 20:
xix Preface to the Revised and Expa
Page 24 and 25:
Preface to the First Edition xxiii
Page 26:
Preface to the First Edition xxv Pr
Page 30 and 31:
3 Introduction duction world that r
Page 32 and 33:
5 Introduction Body painting is anc
Page 34 and 35:
7 Introduction erogenous zones and
Page 36 and 37:
9 Introduction painful, it is commo
Page 38 and 39:
11 Introduction for example, Kayan
Page 40 and 41:
13 Introduction underworld (Richie,
Page 42 and 43:
15 Introduction a heavily tattooed
Page 44 and 45:
17 Introduction pain and necessitat
Page 46 and 47:
19 Introduction were typically seen
Page 48 and 49:
21 Introduction the corporeal chang
Page 50 and 51:
23 Introduction ent within worlds o
Page 52 and 53:
25 Introduction surrounding tattoo
Page 54 and 55:
27 Introduction These dominant pers
Page 56 and 57:
29 Introduction style. the occupati
Page 58 and 59:
31 Introduction communicable diseas
Page 60 and 61:
33 Introduction is presented as res
Page 62:
35 Introduction artistic endeavor.
Page 65 and 66:
38 Becoming and Being a Tattooed Pe
Page 67 and 68:
Page 69 and 70:
Page 71 and 72:
Page 73 and 74:
Page 75:
Page 78 and 79:
Page 80 and 81:
Page 82 and 83:
Page 84 and 85:
Page 86 and 87:
Figure 3. The Tattoo as Social Symb
Page 88:
Page 91 and 92:
64 The Tattooist been my safe place
Page 93 and 94:
66 The Tattooist and psychologicall
Page 95 and 96:
68 The Tattooist Few tattooists mak
Page 97 and 98:
70 The Tattooist people in the busi
Page 100 and 101:
73 The Tattooist (The tattoo artist
Page 102 and 103:
75 The Tattooist complete tattoo. I
Page 104 and 105:
77 The Tattooist in her kitchen. Ev
Page 106 and 107:
79 The Tattooist reer which strongl
Page 108 and 109:
81 The Tattooist does it hurtT "Com
Page 110 and 111:
83 The Tattooist THE TATTOOIST'S CA
Page 112:
85 The Tattooist me to tattoo the b
Page 115 and 116:
88 The Tattooist like Burger King .
Page 117 and 118:
90 The Tattooist the individual to
Page 119 and 120:
92 The Tattooist Tattooists also ha
Page 121 and 122:
94 The Tattooist tomorrow and let y
Page 123 and 124:
96 The Tattooist that there is a ch
Page 125 and 126:
98 The Tattooist above, tattooists,
Page 127 and 128:
100 The Tattooist and fifty. Those
Page 129 and 130:
102 The Tattooist "totemic" desires
Page 131 and 132:
104 The Tattooist available to them
Page 133 and 134:
106 The Tattooist I refused a guy l
Page 135:
108 The Tattooist This change in th
Page 138 and 139:
f styles. (Photo by D. Angus Vail)
Page 140 and 141:
above: Tattoo by Filip Leu, The Le
Page 142 and 143:
imi Hendrix and John Coltrane by Fi
Page 145 and 146:
118 The Tattoo Relationship As is t
Page 147 and 148:
120 The Tattoo Relationship he coul
Page 149 and 150:
122 The Tattoo Relationship blouse
Page 151 and 152:
124 The Tattoo Relationship name "R
Page 154 and 155:
127 The Tattoo Relationship Positiv
Page 156 and 157:
129 The Tattoo Relationship experie
Page 158 and 159:
131 The Tattoo Relationship The reg
Page 160 and 161:
133 The Tattoo Relationship Other p
Page 162 and 163:
135 The Tattoo Relationship inexper
Page 164:
137 The Tattoo Relationship the nee
Page 167 and 168:
140 The Tattoo Relationship Followi
Page 169 and 170:
142 The Tattoo Relationship expecte
Page 171 and 172:
144 The Tattoo Relationship In rece
Page 173 and 174:
146 The Tattoo Relationship tattooi
Page 175:
148 The Tattoo Relationship the tat
Page 178 and 179:
151 Conclusion tutional theory of a
Page 180 and 181: 153 Conclusion arisen and learn fro
Page 182 and 183: 155 Conclusion and give money to it
Page 184 and 185: 157 Conclusion what are the chances
Page 186 and 187: 159 Conclusion Works of Idea Art fr
Page 188 and 189: 161 Conclusion the artistic redefin
Page 190 and 191: 163 Conclusion symbolic demonstrati
Page 192 and 193: 165 Epilogue 2008 ters, all would l
Page 194 and 195: 167 Epilogue 2008 and the emphasis
Page 196 and 197: 169 Epilogue 2008 The term “colle
Page 198 and 199: 171 Epilogue 2008 design and execut
Page 200 and 201: 173 Epilogue 2008 for three or four
Page 202 and 203: 175 Epilogue 2008 1990s, become an
Page 204 and 205: 177 Epilogue 2008 eyebrows and “l
Page 206 and 207: 179 Epilogue 2008 The most recent m
Page 208 and 209: 181 Epilogue 2008 distinguish among
Page 210 and 211: 183 Epilogue 2008 supposedly made i
Page 212 and 213: 185 Epilogue 2008 and perceptions o
Page 214 and 215: 187 Epilogue 2008 become more commi
Page 217 and 218: 190 Methodological Appendix Fairly
Page 219 and 220: 192 Methodological Appendix laborer
Page 221 and 222: 194 Methodological Appendix Figure
Page 223 and 224: 196 Methodological Appendix guys wh
Page 225 and 226: 198 Methodological Appendix increas
Page 227 and 228: 200 Methodological Appendix because
Page 229: 202 Methodological Appendix nomenon
Page 233 and 234: 206 Notes to Preface to the Revised
Page 235 and 236: 208 Notes to Chapter 2 example, “
Page 237 and 238: 210 Notes to Chapter 2 of negative
Page 239 and 240: 212 Notes to Chapter 4 of female cl
Page 241 and 242: 214 Notes to Chapter 4 your mother
Page 243 and 244: 216 Notes to Chapter 5 Chapter 5 1.
Page 245 and 246: 218 Notes to Chapter 5 and resulted
Page 247 and 248: 220 Notes to Epilogue 2008 only foo
Page 249 and 250: 222 References ———. 1967. “
Page 251 and 252: 224 References Cummings, William, a
Page 253 and 254: 226 References Gittleson, N., G. Wa
Page 255 and 256: 228 References Research. Hirschman,
Page 257 and 258: 230 References University Press. Le
Page 259 and 260: 232 References 6 (May): 18 ff. Parr
Page 261 and 262: 234 References Carl (Shotsie) Gorma
Page 263 and 264: 236 References Investigation of Con
Page 266 and 267: Index Adler, Patricia and Peter, 11
Page 268 and 269: 241 Index Fellman, Sandi, 13, 160,
Page 270 and 271: 243 Index O’Reilly, Samuel F., 16
Page 272: 245 Index 214; process described, 4
show all

Customizing the Body (PDF file) - Print My Tattoo

Create successful ePaper yourself

Delete template?

Save as template?