Issue 01 The Body as White Space

UK 6.5o

SKIN

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SUMMARY

The human skin is our largest organ, acting as a large cushion for our bodies, a barrier

from disease and the atmosphere, a display of our heritage and our lives. Throughout the

ages, skin has portrayed age, gender, social class, health and beauty – however it has also

been used for centuries as a canvas for decoration. This report critically examines the

modern uses of tattoo, from commercial value to questioning art, even pushing boundaries

so far as to result in producing the most conceptual, tattooed, and arguably highest valued,

vagina in history.

4RICK GENEST FOR MUGLER

5BY CHRIS ROOME

PORTRAIT / ADVERT HERE

DAMIEN HIRST : FOR THE LOVE OF GOD

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SKIN ISSUE 01

THE BODY AS WHITE SPACE

Creative DirectionSarah-Jayne Todd

SKIN MagazineUnit 3, Ashby Mews, London, SE14 1TB

Printing : LCCwww.theskinaswhitespace.com

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SKIN : THE BODY AS WHITE SPACE

CONTENTS

SUMMARY

INTRODUCTION

BRANDINGPurchasing human skin as advertising spaceWhy use tattoos as advertisements and what value is the skin worth.Does this create a shock factor for the target audienceOwnershipDoes the own part of the brand or the brand part own the human?What is the difference between tattoo branding and tattoo advertisingDoes it equate to a strong loyalty for a brand or is the skin sold to create profit for the canvas

VALUECreating self valueSelf branding as an art form to generate value to their skin through tattooingWhat creates more valueThe skin its self of the piece of art placed onto the skinAlso taking into consideration the status of the artistIs it valuable or only the experience and moment that countsDoes this type of art have a shelf life?As the skin ages does the art become less valuable?Perishable or permanentIs it the tattoo that is valuable or reproductions of the tattoo?If the art cannot be bought can it have valueIf it can not be bought then can it be art in modern society?

TRADITIONAL AND CONTEMPORARYCompare traditional and contemporary tattoo techniquesIntroduce traditional forms of tattooing and compare them to new ways of workingDoes it create a new contemporary buzz?Using human skin as a canvasArtists using tattooing and human skin to create work through a new mediumShauna TaylorInterviewProjects in contemporary tattooingSkin projects How the new ways of working have established this contemporary way of working with tattooing

CONCLUSION

APPENDICES

BIBLIOGRAPHY

PHOTO REFERENCES

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PORTRAIT / ADVERT HERE

PETTIBON TATTOO DESIGN

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INTRODUCTION

Before beginning this SKIN report on The Body as White Space, we must first define

white space; the term arises from graphic design practice and is frequently used to describe

the spaces between image, typography, borders etc. It is often incorrectly mistaken for

emptiness, or ‘blankness’. However, rather than a ‘nothing’, ‘white space’ means ‘negative’,

and it is key to allowing the existence of any artwork. Furthermore, white does not refer

to any sort of colour, only the nonexistence of a positive; skin, therefore, acts as a perfect

canvas – a naturally occurring area of negative expanse. Throughout time, skin has been

utilised as a canvas and this report will investigate the history of artwork and decorative

markings upon humans, and its cultural relevance. It will also consider how far this

creativity can be described as art, and in a modern society, how it can possibly be valued.

The key themes of the use of white space considered within this report will be branding

and advertising, tattooing, and contemporary art.

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BRANDING

CONTENTS

PURCHASING HUMAN SKIN AS ADVERTISING SPACE

OWNERSHIP

WHAT IS THE DIFFERENCE BETWEEN TATTOO BRANDING AND TATTOO ADVERTISING

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CHAPTER 1PURCHASING HUMAN SKIN AS ADVERTISING SPACE

BRANDING

In this introduction to branding and its relationship to skin, I will look

at and interrogate areas in this subject area such as tattoo advertising,

brand ownership and loyalty to a brand. While the report discuss’ the

topic and assesses the success of case studies in relation to the concept of

shock tactics.

The practice of Human Branding (in terms of Western capitalism)

is most commonly split into two types: companies tattooing logos on

a human as adverts, and when an individual self-brands them self to

create identity and value through the medium of tattooing. A company

approaching a human and asking to ‘purchase’ their skin as advertising

space is a concept that has only in the last decade started to surface. The

idea has been controversial, and has received plenty of backlash about it

being utter bonkers or a little bit of campaigning genius. “The idea was

first put in print in Vibe magazine 20 years ago when they predicted

that one day firms would pay to people walk around with advertising

slogans tattooed on their visible skin.”1 According to this article when

Vibe magazine predicted such an outlandish technique for advertising

the technique and medium of the campaigns seemed to be increasingly

Successful with the prime example of this being a success coming from

the company golden casino.com. As they generated the idea and made

it happen by temporarily tattooing Bernard Hopkins (a boxer) to display

their website on his back during a fighting match showcased as a tattoo

on his back. “This proved to be wildly effective, increasing online hits

by 200% for the company and spawned a new advertising campaign

method par excellence.”2 This of course then subsequently encouraged

other methods of advertising producing more of a shock factor for the

audience it is intended to communicate to. It could be questioned though

if it was intended to create a shock factor at all. Merely coming as a plus

side when reactions were shown on behalf of the tattoo, however one that

with out a doubt was created for nothing other than shock factor and to

get people talking about was this particular advertisement making it the

first and most shocking research could prove.

“For $10,000 and a brighter future for her son, Kari Smith on

Wednesday became a real life walking ad for a virtual casino.”3 By

auctioning off her forehead on eBay to generate money, many people

wouldn’t even consider such a life changing decision however this didn’t

1 http://offbeatink.com/tattoo-advertising/tattoo-advertising/ [accessed 2nd Nov 2011]2 http://offbeatink.com/tattoo-advertising/tattoo-advertising/ [accessed 2nd Nov 2011]

3 http://www.deseretnews.com/article/600145187/Mom-sells-face-space-for-tattoo-advertisement.html [accessed 2nd Nov 2011]

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Even seem to phase the cause driven mother. A member of the marketing department stated “Skin is not

an uncommon spot for the casino to advertise: It already has another forehead, more than 100 arms, legs,

chests and backs. Smith is the first woman to have her forehead tattooed with an advertisement, and “we

like having a collection of firsts,”4

This research proves to emphasise that people with the advertisements only consider this for the

return of money and the companies have easy access to human skin as advertising space for a reasonable

fee, and with a tattooed forehead who isn’t going to see that and not take any notice. Possibly indicating

that to companies this could be seen as a collective of advertising firsts. From the studies found on this case,

such as humans selling foreheads in order to see a return of a cash sum, tattoo advertising could be said to

be successful as its an experience a minority take part in as from visually showing this story to a selection

of the target audience it still stands not all wish to partake in this way of advertising.

4 http://www.deseretnews.com/article/600145187/Mom-sells-face-space-for-tattoo-advertisement.html?pg=1 [accessed 2nd Nov 2011]

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CHAPTER 2OWNERSHIP

BRANDING

5 http://www.shopecko.com/category/index.jsp?categoryId=11330790 [accessed 6th Jan 2012]

Focussing on different areas within tattoo advertising, this part of the

report will focus on ownership of the brand the reasons of why the tattoo

is created. When a tattoo advertisement is permanently placed on human

skin it’s not you’re average advert, its a walking breathing advertisement.

The brand has no control over logistics that would come with a normal

advertisement, for example: times of day, location, reproduction, how it

appeals to the target audience or the context of the advert (nothing to

stop your advert being arrested, getting drunk, swearing etc).

This is where questions arise such as not necessarily who owns

what, but who has the most ownership and say. This could initially be

seen with compromising the ownership of whose choice it was to purchase

or place that tattoo at that moment in time, perhaps if a member of a

company bought somebody’s arm on eBay as advertising space then it

could be them who is classed as the owner because they are the person

with the concept and who has made it happen, therefore in turn ‘owns’

that specific advertisement and outcome.

The ‘canvas’ individual could argue that they have an involvement

and certain amount of ownership over that part of the brand that has

been placed on their skin, otherwise however it could be said that this is

just the next step up from a human billboard, just not being able to take

it off at the end of the day.

If the brand already owns the space then that could equate to the brand

owning the space it purchased. In comparison if a company was renting

an advertising space from a billboard or a part of an advertising space, in

the environment then its possible to say because that space is purchased

the company receives ownership of that for a select amount of time.

As the tattoo advertisement is there for life and the company

has rightfully paid fees for the space, then it is arguable from numerous

reviews that the company owns that space on the body. A recent and

comparable proposal was put in place by retail brand Ecko Ltd ‘Get a

tattoo and get 20% off for life’5 From this concept it could be alleged

that is does not necessarily consider ownership as you tattoo a logo onto

yourself and receive customer loyalty in return, in spite of that with

advertising and concepts being so rich and clever in this present day this

could be seen as a tactic to do something fresh and new perhaps causing

a shock factor to some of those who know of this proposal.

In this paragraph ownership does carry some significance to the

report within tattoo advertising yet from the research this could be seen

as more of a brand loyalty involvement than owning part of a particular

brand.

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CHAPTER 3WHAT IS THE DIFFERENCE BETWEEN TATTOO BRANDING AND TATTOO

BRANDING

6 Tattoo Survey – Questions (Appendix 2)7 Appendix 2 – Tattoo Survey

8 http://www.dailymail.co.uk/news/article-490283/Forget-tattoos-branding-hottest-new-trend.html [accessed 2nd Nov 2011]9 http://www.dailymail.co.uk/news/article-490283/Forget-tattoos-branding-hottest-new-trend.html [accessed 2nd Nov 2011]

10 http://designcrave.com/2009-08-19/brand-tattoo-designs/ [accessed 2nd Nov 2011]

In the following paragraph, relating to tattoo branding and brand loyalty,

the study will be focussing on how people have so much loyalty to a brand

they make a permanent connection to this brand, and the considerations

behind their actions.

Tattoo branding differs from tattoo advertising; the main

difference is in the respect that the subject tends to have a distinct

passion for branding (or the company in question) rather than the other

opposition in which the subject appears to have a motive causing them to

desire to get such a tattoo, to proudly showcase it upon their body, rather

than in the terms of advertising which appear to be solely for financial

gain. In a tattoo survey carried out to gather research towards the report

the question was asked ‘Would you consider selling part of your skin as

advertising space to a brand?’6 Some responses were a straight out no

but this answer ‘Hell. No.. Actually.. Maybe Linda McCartney sausage

rolls or for the ‘League Against Cruel Sports’ or ‘The Sea Shepherd’ But

I wouldn’t sell my skin. I’d just do it for a good cause that I support.. And

am proud of.’7

This demonstrates that brand loyalty really is thought out when

it comes to permanently marking ones self with a logo or something

related, as this person states they would sell their skin for a good cause

this could also indicate that the tattoo advertisements are more in favour

of the money than of the brand tattoo itself.

Another view on human branding isn’t just tattooing yet the art of

actually heatedly branding the skin. “It is an agonising procedure now

considered too cruel to inflict on animals. But Human branding has

become the latest twisted fashion trend for young professionals who

regard straightforward tattoos and piercing as passé.”8

Its an antagonising procedure that is on the same level as branding

cattle that people undergo. “It’s about pushing yourself and seeing how

much you can take. In the end the adrenaline rush masked the pain.”9

Hearing something like this really verifies how far people are

determined to go in order to show originality on their skin. Any form of

branding from the research made known has found strong views afflicted

towards them “These tattoos are well beyond common, and well beyond

creative. Then there are the are fanatical tattoos worn by people that

were either not creative enough to come up with something on their own,

or they love their favourite brands so much that they never want to let

them go — sometimes a combination of both.”10

These paragraphs openly demonstrate, especially in the collation

of the survey research, the repetition of the ‘shock factor’ is still produced

by tattooing at present.

TOM LEPPARD : LEOPARD MAN

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VALUE

CONTENTS

CREATING VALUE

WHAT CREATES MORE VALUE

DOES THIS TYPE OF ART HAVE A SHELF LIFE?

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CHAPTER 1CREATING VALUE

VALUE

This further study to value and its relationship to human skin and art,

introduces the issue surrounding value and different aspects, such as

creating self value through the art of tattooing, generating value on skin,

and the question of shelf life when it comes to art upon the skin.

Examining skin and art together to ascertain if it generates value or not

is a new and undiscovered subject, through the research surveyed, the

report will look at how artists, art auctioneers and the media determine

if there is any value and permanence in the tattoo art created.

When a tattoo is found to be creative and a form of self-branding

is formed rather than dedicating a piece of skin to show loyalty to a

brand. When a person chooses their own Identity through the medium of

tattooing and the body begins to develop as a personal canvas. Following

the art form of permanence and value, which allows the creativity of

the skin to prosper. The art of designing a tattoo is one thing and being

creative in that manor however when a person begins to shape and blend

their body for the art of tattooing that is when the question of value

begins to surface in the report.

Over the years especially as tattooing has started to become more

acceptable, society has been introduced to it a lot earlier in life and so the

creativity and the way in which tattoos are looked at is a lot more open

minded than before, as the following study will examine, people begin to

push concepts through themselves and their outer identity.

A prime example of this today is Rick Genest also known as ‘Zombie

Boy’ as his entire body is covered in corpse like tattoos. “Twenty-Six year

old Rick Genest will challenge your sensibilities about what you believe

to be beautiful.”11

From the research on this it enables the reader to consider a

different way of thinking towards tattooing and allows permanence to

come into question. When it is seen on such a large scale as covering the

entire human skin is could be seen not to matter as the overall visual

in a way could be classed as fascinating. “He has sparked a revolution

with fans who see beyond the visceral and want to know everything they

can about the mysterious performer, model and muse known as ‘Zombie

Boy.”12

Even though he is a not the first to do this he is experiencing his

valuable identifying moment in the industry of tattooing. Others have

identified them self through this medium, using this kind of method and

found in research, it is not always created to generate value from the

persons point of view. However predominantly to express themselves

and showcase themselves creatively. Audiences who then notice with the

publicity of the Internet and social networking begin the revolution that

is sparked. As this is where ‘Zombie Boy’ is respected and shared for

millions of viewers to see.

11 http://rickgenest.com/index.php/my-story.html [accessed 2nd Nov]12 http://rickgenest.com/index.php/my-story.html [accessed 2nd Nov]

AKA ZOMBIE BOY

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CHAPTER 2WHAT CREATES MORE VALUE

VALUE

In this paragraph during the value stage of the report it instigates what

generates value on skin and if it can be expressed as valuable. Exploring

areas such as auctioning, questionably ownable art, value of the art itself,

reproductions of the art and if the artists producing the work contribute

to the value.

The subject of valuing skin is relatively new as discovered though

studies on this case “when you look at art seven years or so ago, prior to

that most of the mediums were looking at art forms that were typically on

canvas, paper or sculptural, and now were finding mediums sometimes

the conceptually are meant to actually disintegrate”13 Such proposals

that the selected artworks are not allowed to be sustainable forever,

brings a certain objection to being valued. “Its more about the concept

behind it and what the architectural element of it is, the engineering and

what the actual mind set was behind it. That is what really determines

the drive and what the end value is for really conceptual work.”14

In a tattoo form it could be said the buyer will never fully own the piece

of work and permanence as it belongs to somebody else on their skin,

especially that of a ‘vagina.’15

With contemporary tattoos emerging and artists contributing

work to human canvas’ such as Damien Hirst, Jeff Koons, Raymond

Pettibon, The Chapman Brothers there is a questions surrounding it of

the value. From the studied predictions and the discussable subject at

Christie’s auction house, it is the concept that has more intact.

Furthermore with the artists credibility considered, it is proven

to be a factor and being probable that value is of such importance

surrounding this subject.

13 Christies. SKIN-A Story of Art. Hope. R. 201114 Christies. SKIN-A Story of Art. Hope R. 2011

15 Damien Hirst – Butterfly Tattoo

DAMIEN HIRST BUTTERFLY TATTOO

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CHAPTER 3DOES THIS TYPE OF ART HAVE A SHELF LIFE?

VALUE

Further studies on this report look more at value and if tattoo advertising

and contemporary tattooing have a shelf life. Adapting the methods of

exploring questions surrounding this subject being classed as perishable

art. When this art is created its not supposed to supposed to be forever in

its pristine form as neither does the human body, when a person begins to

age the tattoo will stop developing and regard it to disintegrate?

“It has its shelf life but so does everything else. I find old tattoos

fascinating, over the years the tattoo will deteriorate with me.”16 This

proves not to necessarily mean that it cannot be valued; this is what

modern and contemporary art is all about discovering new methods and

continuously developing a new concept from all the art previous to the

artists own. . “This issue of perishable material is almost irrelevant in the

market today.”17 Another statement from Christie’s auction house claims

that, from a radical point of view it is irrelevant as artists push the

boundaries so much, that from this a new aspect of value comes into play.

This is pertinent to a piece of art that can be owned and purchased even

for a small amount of time. If it will deteriorate it can still be owned

and authoritatively be the buyers. However to the contemporary method

of tattooing if a artist tattoos a person as a canvas and then that art is

valued how can this be possible? Leading to research discovering how it

can be placed as art in modern society if that piece cannot be purchased.

In this paragraph and from the research discovered there are a

whole web of questions left un answered with it being such a new medium

and way of working yet its all extremely relevant to this report and

study of contemporary tattooing. These paragraphs demonstrate and

collate found research from an auctioneer’s perspective on the values

on contemporary art, artists working conceptually and the value of self-

branding on the human skin.

16 Jack Driver. SKIN - A Story of Art. Hope R. 201117 Christies. SKIN – A Story of Art. Hope R. 2011

ADVERT/PROFILE IMAGE

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TRADITIONAL AND CONTEMPORARY

CONTENTS

COMPARE TRADITIONAL & CONTEMPORARY TATTOO TECHNIQUES

USING HUMAN SKIN AS CANVAS

INTERVIEW WITH SHAUNA TAYLOR (HUMAN CANVAS)

PROJECTS IN CONTEMPORARY TATTOOING

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CHAPTER 1COMPARE TRADITIONAL & CONTEMPORARY TATTOO TECHNIQUES

TRADITIONAL AND CONTEMPORARY

At the reports final stage, the main areas of focus are traditional forms of

tattooing, studying a brief introduction, the art of contemporary tattooing

and how artists have begun to explore and work with skin as a canvas.

The art of tattooing is an exceedingly broad area and has been

around for decades, in this stage the report will introduce the main

focus points of tattooing and how its representation has differed through

changing society. ‘Man has always felt the need to decorate his body –

markings have been found from thousands of years ago.’18

Discovered through a study on the history of tattooing, there are

explanations and basic historic tools that were developed for creating

permanent tattoos exclusive of the electronic machinery that is needed

today. ‘Tattoos were commonly applied with a comb fashioned from a

serrated shell or bone that was fastened adze-like to a wooden handle.

The instrument was known as a “ui tattau.” The ta’unga would strike

the comb with another piece of wood, known as “rakau papa.” Which

was used like a mallet for tapping or beating. The pigment used was

obtained from soot produced from the waxy flesh extracted from the

shell of a “tuitui” of candlenut tree. Dipped into the pigment the comb

would pierce the skin while attendants kept the skin taut, wiped away

blood, and sang songs to put the person being tattooed at ease. With a

steady tapping rhythm the ta’unga would create patterns handed down

through generations to mark the wearer for the rest of his or her life.’19

Adapted in the same research study it is known, that man has

always felt the need to cover his body in art, this tool that man has

made and uses, as in 500-300BC. A civilization known as Polynesians

‘developed many technologies and art forms that defined their way of

life, connected them to their belief systems and assisted outward

manifestation and expression of identity and culture. One of these modes

was the art of tattooing.’20

The research here signifying that this was through belief and

expression, while educating that this way of decoration was a necessity to

culture, how tribes marked one another and became decorated identities.

Furthermore ‘The practice revived in the Thirteenth century

Japan largely as a means of marking criminals and other social

undesirables. Criminals were tattooed with symbols indicating the

nature and geographic location of their crime.’21

Severe yet this is a strong and permanent study of how branding

a human is something that can not be removed and will always remain

there, as a reminder and to warn other people of this tattooed persons bad

habits. This could be seen as where the negative connotations towards

tattooing began to branch from, tattooing was seen as a deviant practise

and a strong impulse in rebellion and the art scene.

In the 1920’s when tattooing was again brought to life as an art

form people who were tattooed were seen as deviants, criminals, freaks

and their place of safety was considered to be as extreme as the circus.

‘Tattooed –person-as –a-freak.”22 From this research it is probable

in society, if tattooing was engraved in the skin at this time, you were

classed as a degenerate of society.

This paragraph concludes the creation of the earliest tattoo

equipment, the branches and roots of tattooing. Furthering where it led

to as a negative art form, when branding society.

18 Mo Coppoletta. SKIN – A Story of Art. Hope R. 201119 Utanga. J. Mangos T. (2006) . The Lost Issue: Tattoo Revival in the Cook Islands. Fashion Theory: The Journal of Dress, Body & Culture. Vol. 10. (Tattoo Special Issue / SEPT), 316p.20 Utanga. J. Mangos T. (2006) . The Lost Issue: Tattoo Revival in the Cook Islands. Fashion Theory: The Journal of Dress, Body & Culture. Vol. 10. (Tattoo Special Issue / SEPT), 316p.

21 Sanders. C, Customizing the Body: The Art and Culture of Tattooing. 11/12p22 Sanders. C, Customizing the Body: The Art and Culture of Tattooing. 18p

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CHAPTER 2USING HUMAN SKIN AS CANVAS

TRADITIONAL AND CONTEMPORARY

Focussing on the area of artists exploring skin as a canvas, this begins

to cross over with the subject of value the in the report. Looking at

why artists have taken to skin as a medium. Contemporary artists are

extremely unpredictable so any new mediums that can be discovered,

artists will work with them. Yet in terms of artists using human skin as a

canvas this is a relatively new medium and approach to art.

Its not resalable and as research proves nothing can really be

perishable from this, however it is a new way and delivers something

exciting and different into the contemporary art world. “You can go up

to the most famous tattoo artist in the world and get a tattoo, but you

cant go up to a famous artist and ask them to design your tattoo .”23

Tattooing happens all over the world on a daily basis and people

heavily appreciate tattoos but the fact that such renowned artists, have

taken the concept and designed a piece of art for, this medium is an

area this report will study. It could be said the audience and the creative

industry, not only in tattoo culture, can view it in a different way and even

the artists consider and develop it more, as this here proves. “The artists’

responses varied: the amount of control they wanted, the placement, the

colours, the fonts, the degree of involvement of the participant and the

tattoo artist. And then there were the Chapman Brothers, who changed

the brief to suit themselves. Dinos, not wanting to expend his design on

an exterior “canvas,” gave his right arm to the cause. He then took up

the needle and went to town on his brother, having never tattooed before,

and proceeding without any idea of the final outcome.”24

In the tattoos that have been created and designed from the

specific artists invloved in the ‘Inked’ project such as Koons, Hirst, The

Chapman Brothers, Pettibon and more, the tattoo artists transform this

into a tattoo worthy design for the human canvas, it is a collaboration

and it is also the outcome, that makes the concept so fresh and exciting.

Commencing further report studies, the body parts used and

where the image is placed makes the artist think and learn new methods,

about his or her art. “Using skin as a their canvas makes the artist think

about their art in a different way. There were certain things that even

Damien did consider about the tattoo and how it was going to look

because he has never worked on the sort of surface before.”25 It could

be thought that as the artwork is created on a human, living, judging

and aware of the process, it would make the artist more conceptual and

delicate about their work, it has to be lived with everyday so there for

constantly critiqued. This paragraph exhibits the process of why artists

chose to work with skin as a new canvas and medium.

23 Jack Driver. SKIN – A Story of Art. Hope R. 201124 Poostchi. B. (2011) . Inked. Garage Magazine. No.1. (Fall / Winter / SEPT), 100p.

25 Jack Driver. SKIN – A Story of Art. Hope R. 2011

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PROFILE

MS SHAUNA TAYLOR in an Illustrator and model after being shot by the likes of Hedi

Slimane and Nick Knight. Smoking her days away and drawing SHAUNA, now has the most

contemporary and arguably highest valued, vagina in history. Becoming a human canvas and

medium for the most recognisable artist DAMIEN HIRST.

SHAUNA TAYLOR

LONDON

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PROFILE

Sarah-Jayne TODD: So tell a little about ‘the tattoo’ how did you come

to find out about it?

Shauna TAYLOR: Well, it was a nice sunny day and I had no money,

decided to go to the Tate Britain, (because its free and I could jump the

bendy bus) my mate ash went to Chelsea College of Art which is next to

it. So I stopped off to pick her up and seen a shitty green piece of paper

on her studio wall saying like, do you want a tattoo designed by an

artist for a new magazine, so I thought FREE FUCKING TATTOO

YEEAAAHHHH.

SJT: So turns out it was a designed tattoo by Artist Damien Hirst.

What was your reaction when you found out this tattoo was going to be

designed by him?

ST: I was like WHAT THE FUCK, no way! Yeahh so excited, really

wanted the tattoo.

SJT: What about when you found out if was to be placed on your

vagina?

ST: When I found it was on my vagina, I was a bit scared but my eyes

lit up and I just thought about it, why fucking not. A vagina tattoo, it

cant hurt that much right?

SJT: Did you have any doubts about the tattoo as it a pretty big deal?

ST: None at all, I knew, after speaking to Becky (Garage Mag) that I

was getting to go to L.A for a photo shoot and that a documentary was

getting made, that it was going to be a massive project so I was dead

excited about it.

SJT: What happened in the process of getting tattooed?

ST: A lot of waiting for dates to be set and phone calls/emails. I got

filmed whilst the outline of my tattoo was done. Went to L.A for a shoot

with Hedi Slimane, got filmed some more! The whole process from start

to finish was a good few months long!

SJT: What about the pain?

ST: Well I spoke to my dad (who’s a tattooist) he told me it wont hurt, he

actually said I’d be more bothered about the vibrating sensation down

there more than anything. He was wrong it fucking hurt me so much,

was probably the most painful thing I have ever felt! It was awful, but

whatever it looks so good!

SJT: Has it made your skin feel of anymore value to you?

ST: Not really, its still the same old vagina I have always had, but with a

special Damien Hirst butterfly on it.

SJT: What do you think of artists using skin as a canvas?

ST: I think its pretty amazing and exciting. Working on a walking canvas,

it has never really been done before, not that I am aware of any ways.

SJT: What was your best part of the whole experience?

ST: Errrrm, its all been a pretty fun experience really, getting to go to

L.A was amazing, and getting lots of attention and having “the worlds

most valuable vagina” is dead fun!

SJT: What do you see your body looking like (Tattoo wise) in the next

few years?

ST: I LOVE tattoo’s and I’m probably going to get quite a lot of them. I

am already planning my next design with Mo Coppoletta (Tattooist of

my butterfly) there so addictive!!!!!!

SHAUNA TAYLOR

Appendix 1 – Shauna Taylor

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CHAPTER 3PROJECTS IN CONTEMPORARY TATTOOING

TRADITIONAL AND CONTEMPORARY

In the final stage of the report, this paragraph will focus on how

contemporary tattooing differs from traditional tattooing, looking more

into the contemporary tattoo project briefed by Garage Magazine. A

distinguished high end art magazine Garage, decided to curate and

document the entire process, Becky Poostchi the Managing Editor

handled huge budgets to make sure this was the titled issue in the launch

of the art driven magazine.

“So the tattoo is to be placed on her vagina? You don’t make

it easy do you? It was an unusual conversation with one of the worlds

most respected artists, and there were many more to follow. Jeff Koons,

Damien Hirst, John Baldessari, Raymond Pettibon, Jake and Dinos

Chapman, Richard Prince, Dr Lakra and Paul McCarthy: An eclectic

mix of established artists, they all worked on one brief to design a tattoo

for garage – a unique piece of art that will be one persons skin for life.”26

From the research it confirms that, a distinctive and original project

perhaps involving the readers and followers that there is no longer a

distinguishable line between the art world and tattooing industry.

From previous research in the report, it could be said that

tattooing is loosing its sign of rebellion over the years, in its transition

to contemporary tattooing, as the report follows and records. This could

be seen as a tactic from the fine art and tattoo world to scrape back its

rebellion and deviance. The willing canvases adapted to the idea and in

their own right have become a part of contemporary art by partaking

in the experience. “The tattoo artists masterfully adopted the artists’

designs to fit each body, adjusting colours for the maximum effect,

positioning wings over shoulder blades, and going where tattoo needles

fear to tread.”27

The enthusiastic canvas that adopted that daring design and spread her

legs for the most arguable valued piece of white space was Shauna Taylor.

“So Damien Hirst Tattoo - what was your reaction when you found out

this tattoo was going to be designed by him?

I was like WHAT THE FUCK, no way! yeahhhhh. So excited.

What about when you found out if was on your vagina?

When I found it was on my vagina, I was abit scared but my eyes lit up

and I thought about it, why fucking not. A vagina tattoo, it cant hurt

that much right?”28 Having a contemporary proposal of such magnitude

would take a ballsy woman to accept but the return of a original Damien

Hirst piece of art on your body is an offer some people would not turn

down, as the response from Shauna Taylor in the report verifies.

This subject could be seen to make tattooing seem more than

rebellion and makes it become recognised rather than normalised.

“Tattooing has come into the fold and now I represent a piece of art

history in the flesh. Representing some sort of weird synthesis between

two genres that were previously segregated, and that’s where the

importance of this project lies, bringing cause to consider tattooing as a

legitimate, bonefied fine art form.”29

From this source it could be seen to throw tattooing out there,

on many levels by doing much more than putting out its permanence, it

shows skill, creativeness, versatility and most importantly its impact on

society and identity. “I’d like to be the first to raise my glass to welcome

tattooing to the world of fine and contemporary art id definitely fucking

drink to that.”30

26 Poostchi. B. (2011) . Inked. Garage Magazine. No.1. (Fall / Winter / SEPT), 100p.27 Poostchi. B. (2011) . Inked. Garage Magazine. No.1. (Fall / Winter / SEPT), 100p.

28 Appendix 1 – Shauna Taylor (See full interview of pages 42/43)29 Conrad Lochner. SKIN – A Story of Art. Hope R. 201130 Conrad Lochner. SKIN – A Story of Art. Hope R. 2011

49

CONCLUSION

To conclude, the key findings of my research centre around the idea of branding skin (both

in terms of tattoo technique, and also in terms of commercial brands, i.e. Advertising),

traditional and contemporary forms of tattooing, tattoo as an art form, and as a recognised

art form, the debate around valuing tattoos, skin and ‘living art’. Particularly successful

areas of the report are structured on the findings from the report research and its

involvement in the area of contemporary tattooing; collecting data from individuals who

have used their skin as a canvas was hugely informative. However, one key failure of the

report was the lack of research and interviews secured from the artists that used and

worked on human canvases. This was helped by the research of others; however talking to

these artists would be one area in which I would like to expand my research and could in

turn give my report more depth. Further areas of interest within the report include looking

at tattooing critically as an art form, as well as examining the skill and practice needed

to become an experienced tattoo artist. Overall, I feel that my report engages with many

of the discourses surrounding tattooing; an art form which is both deeply ancient, and

constantly cutting-edge.

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APPENDIX 1 - SHAUNA TAYLOR

So tell a little about ‘the tattoo’ how did you come to find out about it?Well, it was a nice sunny day and I had no money, decided to go to the Tate Britain, (because its free and I could jump the bendy bus) my mate ash went to Chelsea College of Art which is next to it. So I stopped off to pick her up and seen a shitty green piece of paper on her studio wall saying like, do you want a tattoo designed by an artist for a new magazine, so I thought FREE FUCKING TATTOO YEEAAAHHHH.So turns out it was a designed tattoo by Artist Damien Hirst. What was your reaction when you found out this tattoo was going to be designed by him?I was like WHAT THE FUCK, no way! Yeahh so excited, really wanted the tattoo.What about when you found out if was to be placed on your vagina?When I found it was on my vagina, I was a bit scared but my eyes lit up and I just thought about it, why fucking not. A vagina tattoo, it cant hurt that much right?Did you have any doubts about the tattoo as it a pretty big deal?None at all, I knew, after speaking to Becky (Garage Mag) that I was getting to go to L.A for a photo shoot and that a documentary was getting made, that it was going to be a massive project so I was dead excited about it.What happened in the process of getting tattooed?A lot of waiting for dates to be set and phone calls/emails. I got filmed whilst the outline of my tattoo was done. Went to L.A for a shoot with Hedi Slimane, got filmed some more! The whole process from start to finish was a good few months long!What about the pain?Well I spoke to my dad (who’s a tattooist) he told me it wont hurt, he actually said I’d be more bothered about the vibrating sensation down there more than anything. He was wrong it fucking hurt me so much, was probably the most painful thing I have ever felt! It was awful, but whatever it looks so good!Has it made your skin feel of anymore value to you?Not really, its still the same old vagina I have always had, but with a special Damien Hirst butterfly on it.What do you think of artists using skin as a canvas?I think its pretty amazing and exciting. Working on a walking canvas, it has never really been done before, not that I am aware of any ways.What was your best part of the whole experience?Errrrm, its all been a pretty fun experience really, getting to go to L.A was amazing, and getting lots of attention and having “the worlds most valuable vagina” is dead fun!What do you see your body looking like (Tattoo wise) in the next few years?I LOVE tattoo’s and I’m probably going to get quite a lot of them. I am already planning my next design with Mo Coppoletta (Tattooist of my butterfly) there so addictive!!!!!!

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APPENDIX 2 - TATTOO SURVEY

How old were you when you first got tattooed?25Did it take you long to decide? Did you think of the permanence?I went in to the parlour thinking that I was going to get one thing and I came out with a toadstool. I am aware that tattoos are permanent; I am far too stubborn to regret anything. Never mind tattoos.How many tattoos do you have?5Where are the tattoos you have?Arm, neck, back, leg, foot.Do your tattoos effect your day to day areas for example where you work?Nope. I work for local government and they are accepted. I don’t have to cover them up and only the oldies who are on their way out (in life.. Not the office) frown upon them.How much money have you spent on tattoos / what is the current value of your skin?£600What is the reason behind your tattoos?They look pretty and I like decorating my skin. Only 1 has any real significance. They rest are merely a time line of my ‘likes’ and ‘loves’ so far in lifeWould you consider selling a part of your skin as advertising space to a brand?Hell. No.. Actually.. Maybe Linda McCartney sausage rolls or for the ‘League Against Cruel Sports’ or ‘The Sea Shepherd’ But I wouldn’t sell my skin. I’d just do it for a good cause that I support.. And am proud of.

52

How old were you when you first got tattooed?18Did it take you long to decide? Did you think of the permanence?Yes, took a year to decide what I wanted and the permanence helped me decide which tattoo idea was best, as it was going to be there forever.How many tattoos do you have?3Where are the tattoos you have?Back, foot and neckDo your tattoos effect your day to day areas for example where you work?No they do notHow much money have you spent on tattoos / what is the current value of your skin?£150What is the reason behind your tattoos?They all mean different things which are personal and significant to me, a little piece of art that represents myself.Would you consider selling a part of your skin as advertising space to a brand?No!!

APPENDIX 3 - TATTOO SURVEY

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BIBLIOGRAPHY

Claudine. (2009) Tattoo Advertising [online],Available: http://offbeatink.com/tattoo-advertising/tattoo-advertising/ [accessed 2nd Nov 2011].Falk, A. (2005) Mom sells face space for tattoo advertisement [online],Available: http://www.deseretnews.com/article/600145187/Mom-sells-face-space-for-tattoo-advertisement.html?pg=1 [accessed 2nd Nov 2011]Kelly, T. (2007) Forget tattoos, branding is the hottest new trend [online],Available: http://www.dailymail.co.uk/news/article-490283/Forget-tattoos-branding-hottest-new-trend.html [accessed 2nd Nov 2011]Barnes, W. (2009) 20 Brand Tattoos That Should Have Never Been [online],Available: http://designcrave.com/2009-08-19/brand-tattoo-designs [accessed 2nd Nov 2011]Anon. My Story [Online],Available: http://rickgenest.com/index.php?option=com_content&view=article&id=59&Itemid=113 [accessed 2nd Nov 2011]Murano, G. (2011) 10 Craziest Tattoo Stories [Online],Available: http://www.oddee.com/item_97484.aspx [accessed 7th Dec 2011]Grzegorek, V. (2007) This and Tat [Online],Available: http://www.uni-watch.com/2007/06/07/this-and-tat/ [accessed 7th Dec 2011]Coverdale, K. (2011) The Story Behind The World’s Dumbest Tattoo [Online],Available: http://www.vice.com/en_uk/read/drakes-best-headline-yet [accessed 6th Jan 2012]Towne, R. (2011) Diane Arbus – Freaks » Tattooed Man [Online],Available: http://photoluminary.com/2011/03/diane-arbus-freaks/da12/ [accessed 6th Jan 2012]Janelle. (2011) 2011 Covers of the Year [Online],Available: http://models.com/oftheminute/?p=38271 [accessed 6th Jan 2012]White, B. (2011) Damien Hirst’s ‘intimate’ tattoo covers Garage magazine’s debut [Online],Available: http://fashion.telegraph.co.uk/article/TMG8724925/Damien-Hirsts-intimate-tattoo-covers-Garage-magazines-debut.html [accessed 6th Jan 2012] Anon. (2011) Branded For Life [Online],Available: http://www.shopecko.com/category/index.jsp?categoryId=11330790 [accessed 6th Jan 2012]Dupree, C. (2012) Impermanent Art [Online],Available: http://harvardmagazine.com/2002/01/impermanent-art.html [accessed 6th Jan 2012]Davies, L. (2010) Mo Coppoletta: “If you want to succeed in tattooing, you need to breathe, eat, drink and smell tattooing.” [Online],Available: http://www.independent.co.uk/arts-entertainment/art/features/mo-coppoletta-quotif-you-want-to-succeed-in-tattooing-you-need-to-breathe-eat-drink-and-smell-tattooingquot-2082305.html [accessed 4th Feb 2012]Murano, G. (2009) 12 Most Extremely Modified People [Online],Available: http://www.oddee.com/item_96602.aspx [accessed 4th feb 2012]Allen, P. (2011) In the Frame: Woman Offers Her Body as Men’s Tattoo Canvas. Is This Art? [Online],Available: http://bitchmagazine.org/post/in-the-frame-woman-offers-her-body-as-men%E2%80%99s-tattoo-canvas-is-this-art [accessed 5th feb 2012]Anon. (2011) Damian Hirst’s tattooed vagina isn’t the first use of skin ink in contemporary art [Online],Available: http://www.theweek.co.uk/2555/five-examples-tattoo-fine-art-crossover [accessed 5th feb 2012]

WEBSITES

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BIBLIOGRAPHY

Anton. F, Groaning. K, Decorated Skin: A World Survey of BodyArt. 5 Nov 2001. New New Edition. London. Thames & Hudson

Baldaev. D, Vasiliev, S, Russian Criminal Tattoo Encyclopaedia Volume I: 1, 7 Sep 2009. FUEL

Baldaev. D, Vasiliev, S, Russian Criminal Tattoo Encyclopaedia Volume II: v. II, 3 July 2006. FUEL

Cummings. N, Lewandowska. M, The Value of Things, Sept 2000,August/Birkhauser

Hewitt. K, Mutilating the Body: Identity in Blood and Ink. 30 April1997. US. Bowling Green University Popular Press

Kuwuhara. M, Tattoo: An Anthropology. 1 May 2005. England.Berg Publishers.

Post. Brain Tattoos – Creating Unique Brands That Stick in YourCustomers’ Minds. 1 Dec 2004. Amacom

Sanders. C, Customizing the Body: The Art and Culture ofTattooing. 4 June 2008. U.S.; 2Rev Ed edition. Temple University Press

BOOKS

Poostchi. B. (2011) . Inked. Garage Magazine. No.1. (Fall / Winter / SEPT), 100p.

Utanga. J. Mangos T. (2006) . The Lost Issue: Tattoo Revival in the Cook Islands. Fashion Theory: The Journal of Dress, Body & Culture. Vol. 10. (Tattoo Special Issue / SEPT), 316p.

JOURNALS

SKIN-A Story of Art. Hope. R. 2011

EASTERN PROMISES. Cronenberg. t. 2008

FILM / DOCUMENTARY

58

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THE CHAPMAN BROTHERS