Customizing the Body (PDF file) - Print My Tattoo
Customizing the Body (PDF file) - Print My Tattoo Customizing the Body (PDF file) - Print My Tattoo
Notes Preface to the Revised and Expanded Edition 1. A recent survey of teenagers found that 62 percent agreed that when celebrities get a piercing it prompts teens to do the same and 58 percent said that celebrities getting tattooed causes teens to make the same choice (Majewski, Lori, “Teens and Celebrities,” USA Weekend, May 19–21, pp. 6–7). 2. In mid 2007, a search on Amazon.com using “tattoo” as the search term yielded over 26,000 hits. 3. For extended lists of labels applied to this collection of graphic materials, see Juxtapoz 3 #1 (Winter 1996): 4 and Juxtapoz 7 #2 (March/April 2000): 4. 4. For evidence of the major part played by tattooing in lowbrow art, see the Spring 2004 Special Tattoo issue of Juxtapoz. For a discussion of the work of Greg Irons, the artist who moved most effectively between the worlds of commercial, serious, underground, and tattoo art, see Rosenkranz (2006). 5. For manifestos of lowbrow art, see Juxtapoz #1 (Winter 1994): 1 and Juxtapoz #48 (January/February 2004): 4. For extended discussions of this artistic genre, see Jordon (2005) and the essays in Anderson (2004). 6. The derogation of tattooing also occurs in more authoritarian or traditionalist cultures. Recruits who wish to become officers in the Chinese People’s Liberation Army are banned from admission to military academies if they are deemed to be too short, too fat, too skinny, or have tattoos (The Week, May 5, 2006, p. 7). 7. A minority of those who are tattooed—around 15 percent (Read, 2006)—wear them on their faces, hands, or necks. 8. On the other hand, some employers—Bank of America and Borders Books for example—do not have “dress codes” that prohibit tattoos (Kang and Jones, 2007: 42; Read, 2006). Presumably, these more “accepting” firms are more interested in their employees’ skill than in their body decorations or wish to appeal to a younger clientele. There is even a listing of “mod-friendly” employers who hire people with visible tattoos and piercings on the modifiedmind.com website (Wessel, 2007). 9. In 2006 a medical researcher from the University of California
206 Notes to Preface to the Revised and Expanded Edition warned women that they could experience problems during childbirth if they wore “tramp stamp” tattoos on their lower backs since this was the site at which epidural anesthetic was injected and these injections could cause a negative reaction if pigment is transmitted into deep tissue (The Week, May 19, 2006, p. 6). 10. Perhaps the most unexpected mention of the book was in Chemical and Engineering News (August 28, 1989, p. 60). 11. Atkinson (2003) is fairly direct about the significance of Customizing the Body for his work: “My first academic encounter with tattooing occurred about ten years ago. Enrolled in a course in the sociology of deviance, I read a piece from Clinton Sanders’s well-known work, Customizing the Body: The Art and Culture of Tattooing (1989). Contextualizing tattooing as an example of stigma management and secondary deviance, Sanders skillfully presented it as an exotic, disrespected, and marginal social activity” (p. viii). 12. Since the first edition of Customizing the Body appeared, my own tattoo collection (as pictured on the original cover) has expanded. I continued my association with Shotsie Gorman as both a friend and a client and received a Celtic dragon wrist-piece based on the graphic on the title page of the first edition, a classic water lily, a photo-realistic dragonfly, and a large dragon with its tail on my inner forearm and its head on my chest. This—when filled in with classic Japanese water, air and, fire designs— completed a full right “sleeve.” Having made a promise to my partner not to cover my body with tattoos, I stopped there. Angus’s collection is more extensive and of recent vintage. He is working toward a “body suit” featuring five-sevenths-length sleeves and half legs, and with full coverage of his ribs, back, and “chest plates.” His collection features the work of noted tattoo innovators such as Jen Billig, Dave Bobrick, Fred Corbin, Suzanne Fauser, Claus Fuhrmann, Henry Goldfield, Shotsie Gorman, Marty Holcomb, Horiwaka, Filip Leu, Joe Levin, Jack Rudy, Shad, and Bill Salmon. The collection has been featured in a variety of tattoo magazines and books, and his right leg (a series of full-color, life-sized portraits of musicians John Coltrane, Jimi Hendrix, and Carlos Santana, done by Filip Leu) has won awards for realism and portraiture. These portraits changed the practice of portraiture in tattooing, which had previously remained restricted to black and grey images, usually of three-inch by four-inch size. His collection also features a variety of styles of tattooing from traditional Japanese to hotrod flames, from photo-realism to psychedelia, from traditional Americana to biomechanical. As of this writing, his back and right ribs remain open, although he has plans for their completion. Chapter 2 1. It is interesting to note that tattoos appear to be less prevalent among hospitalized mental patients than among the general population.
- 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 and 230: 202 Methodological Appendix nomenon
- Page 231: 204 Selected Tattoo Artist Websites
- 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
206 Notes to Preface to <strong>the</strong> Revised and Expanded Edition<br />
warned women that <strong>the</strong>y could experience problems during childbirth if<br />
<strong>the</strong>y wore “tramp stamp” tattoos on <strong>the</strong>ir lower backs since this was <strong>the</strong><br />
site at which epidural anes<strong>the</strong>tic was injected and <strong>the</strong>se injections could<br />
cause a negative reaction if pigment is transmitted into deep tissue (The<br />
Week, May 19, 2006, p. 6).<br />
10. Perhaps <strong>the</strong> most unexpected mention of <strong>the</strong> book was in Chemical<br />
and Engineering News (August 28, 1989, p. 60).<br />
11. Atkinson (2003) is fairly direct about <strong>the</strong> significance of <strong>Customizing</strong><br />
<strong>the</strong> <strong>Body</strong> for his work: “<strong>My</strong> first academic encounter with tattooing<br />
occurred about ten years ago. Enrolled in a course in <strong>the</strong> sociology of<br />
deviance, I read a piece from Clinton Sanders’s well-known work,<br />
<strong>Customizing</strong> <strong>the</strong> <strong>Body</strong>: The Art and Culture of <strong>Tattoo</strong>ing (1989).<br />
Contextualizing tattooing as an example of stigma management and secondary<br />
deviance, Sanders skillfully presented it as an exotic, disrespected,<br />
and marginal social activity” (p. viii).<br />
12. Since <strong>the</strong> first edition of <strong>Customizing</strong> <strong>the</strong> <strong>Body</strong> appeared, my own<br />
tattoo collection (as pictured on <strong>the</strong> original cover) has expanded. I continued<br />
my association with Shotsie Gorman as both a friend and a client and<br />
received a Celtic dragon wrist-piece based on <strong>the</strong> graphic on <strong>the</strong> title page<br />
of <strong>the</strong> first edition, a classic water lily, a photo-realistic dragonfly, and a<br />
large dragon with its tail on my inner forearm and its head on my chest.<br />
This—when filled in with classic Japanese water, air and, fire designs—<br />
completed a full right “sleeve.” Having made a promise to my partner not<br />
to cover my body with tattoos, I stopped <strong>the</strong>re. Angus’s collection is more<br />
extensive and of recent vintage. He is working toward a “body suit” featuring<br />
five-sevenths-length sleeves and half legs, and with full coverage of his<br />
ribs, back, and “chest plates.” His collection features <strong>the</strong> work of noted tattoo<br />
innovators such as Jen Billig, Dave Bobrick, Fred Corbin, Suzanne<br />
Fauser, Claus Fuhrmann, Henry Goldfield, Shotsie Gorman, Marty<br />
Holcomb, Horiwaka, Filip Leu, Joe Levin, Jack Rudy, Shad, and Bill<br />
Salmon. The collection has been featured in a variety of tattoo magazines<br />
and books, and his right leg (a series of full-color, life-sized portraits of<br />
musicians John Coltrane, Jimi Hendrix, and Carlos Santana, done by Filip<br />
Leu) has won awards for realism and portraiture. These portraits changed<br />
<strong>the</strong> practice of portraiture in tattooing, which had previously remained<br />
restricted to black and grey images, usually of three-inch by four-inch<br />
size. His collection also features a variety of styles of tattooing from traditional<br />
Japanese to hotrod flames, from photo-realism to psychedelia, from<br />
traditional Americana to biomechanical. As of this writing, his back and<br />
right ribs remain open, although he has plans for <strong>the</strong>ir completion.<br />
Chapter 2<br />
1. It is interesting to note that tattoos appear to be less prevalent among<br />
hospitalized mental patients than among <strong>the</strong> general population.