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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28 Introduction<br />
(Clients usually) don't say. "I want this or 1want that:' They<br />
pick a design off <strong>the</strong> wall and 1 try to prompt <strong>the</strong>m to think<br />
about it-what <strong>the</strong> tattoo means.... They pick a design which<br />
is reasonable. 1 mean. 1 only put designs on <strong>the</strong> wall that 1 feel<br />
are ei<strong>the</strong>r valid aes<strong>the</strong>tically or have some kind of cultural<br />
context. 1 try to keep <strong>the</strong> designs within that range.... 1<br />
always feel that 1want to touch a bit-not physically. 1just<br />
want to touch base and say, ''I'm gla.d 1can help you get<br />
through this point. Why don't you give me some feedback on<br />
your decision behind <strong>the</strong> tattoo-what you want to do.... " 1<br />
become <strong>the</strong>ir hands-which is satisfying in that respect. 1<br />
focus my entire energy on that tattoo to make it <strong>the</strong> most<br />
beautiful thing 1can. 1 impose my own set of aes<strong>the</strong>tics and<br />
value judgments as to what beauty is and what it isn't in <strong>the</strong><br />
context of <strong>the</strong> image that <strong>the</strong>y choose. 1 feel that, through my<br />
life's experience. and studying <strong>the</strong> history of Western art. and<br />
being bombarded with <strong>the</strong> imagery and <strong>the</strong> evolution of beauty<br />
in our culture. 1can manifest those qualities in a language<br />
that everyone can understand despite <strong>the</strong>ir education.<br />
The fine art tattooist tends to drift (or be propelled) into tattooing<br />
out of dissatisfaction with <strong>the</strong> constraints and occupational<br />
limitations encountered in <strong>the</strong> traditional art world. Although<br />
<strong>the</strong>y usually bring new aes<strong>the</strong>tic orientations and modes of evaluation<br />
to tattooing (cf. Kealy, 1979; Schroder. 1973: 294-310), tattoo<br />
artists consistently express appreciation for and connection to<br />
<strong>the</strong> history and tradition of western tattooing (cf. Bell. 1976: 101;<br />
Danto. 1964: 579). At <strong>the</strong> same time. <strong>the</strong>y find much of <strong>the</strong> symbolic<br />
content of American folk-style tattooing to be boring. repetitious<br />
or. in some cases. morally and/or politically repugnant.<br />
The <strong>Tattoo</strong> Market<br />
As touched on above. <strong>the</strong> clientele is a central element of <strong>the</strong><br />
organizational set which revolves around <strong>the</strong> process of cultural<br />
production. The client pool is. in essence. a "market" which is<br />
identified. defined. and targeted by system actors whose interests<br />
are primarily financial (Peterson. 1982: 146; DiMaggio. 1977).<br />
The growth and changing character of <strong>the</strong> tattoo consumer pool<br />
in <strong>the</strong> past two decades has had considerable impact on tattoo