Kids Can Create And Wear Temporary Tattoos With An Innovative
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Historically, although men with tattoos have experienced negative judgments and reactions (Gray, 1994; Rubin, 1988), they have arguably received greater social acceptance than have women with tattoos (Braunberger, 2000; Scutt & Gotch, 1974). For instance, in his social history of tattoos, Steward (1990), an established tattoo artist, described women with tattoos as “lank-haired scags, with ruined landscapes of faces and sagging hose and run-over heels” (p. 127). In an effort to control the tattooing of women, he established a policy of refusing to tattoo any woman who was not over 21 years of age, married, able to show proof of marriage, and accompanied by her husband. In light of the historical nonacceptance of women with tattoos and the growing trend of tattooing for women, it is important to study the possible influence of tattooing on people’s perceptions of women with tattoos. The current study began the task of identifying the factors that affect Canadian young adults’ attitudes toward women with tattoos.
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Cultural and sociological histories of tattooing of both men and women do exist (e.g., DeMello, 2000; Rubin, 1988; Sanders, 1989; Wroblewski, 1992), but empirical studies are scarce (Atkinson, 2002). To our knowledge, no empirical research specifically on attitudes toward women with tattoos has been published in any discipline. Ongoing societal attitudes can be inferred, however, from examining both the historical reactions to women with tattoos and gender issues in general.
The stigma and acceptance of tattooing for North American women has waxed and waned (4) and has always been integrally related to issues of class. In the late nineteenth century, women were tattooed in order to pursue careers as sideshow circus attractions (Braunberger, 2000; Gray, 1994). Their costumes were scant, and they were, therefore, considered rebellious for their time. Despite their tattoos, these women were not regarded as revolutionaries, but instead as social outcasts to be marveled at as well as ridiculed (Mifflin, 1997). At the time, positive associations with tattoos were limited to upper class women; these women were recognized as brave and noble as well as beautiful (Armstrong, 1991; Mifflin, 1997). Tattooing experienced a revival during the 1920s and the suffragist movement; it became in vogue among the upper classes to have a tattoo. But not all women enjoyed such freedom, and society did not necessarily endorse this trend. For example, in the late 1920s, the conviction of a rapist was overturned because a small butterfly tattoo was found on the victim (Mifflin, 1997). Both the judge and jury agreed that the tattoo had sexual implications, and, as a result, it was held that the woman was in part responsible for misleading the man who raped her.
Oshkosh, Wis. Tattoo artist Jack Armstrong said he could talk for 24 hours and never tell the same story twice.
Armstrong, 75, has been tattooing since 1928, and his most fascinating story may be his own.
“I was born in a tattoo shop physically,” said Armstrong, who tours the country so often that his business card reads “Jack Armstrong at Large.”
And that’s why curator Martin O’Connor wanted to bring “Tattoo Art” to the South Side’s Beverly Arts Center. The exhibit’s open through Feb. 12.
“There’s still the stigma that tattoo parlors are seedy places and that tattoos are on the fringes of culture,” says O’Connor, 36, a contemporary painter, drawing teacher and tattoo enthusiast since his grad school days in Madison, Wis. “But this generation of tattooers will have art degrees. They really have to have a mastery of color principles, theory and drawing. It’s pretty natural, being in art and having an appreciation for tattoos. It’s not a difficult transition.”
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“Tattoo Art” features nearly 40 artists from the Chicago metro area and throughout the Midwest, most recruited through word of mouth from well-connected folks in this medium. Plus, O’Connor — who got his first tattoo at age 21 — drove around to area parlors, meeting talented practitioners and encouraging them to take part. “They really got on board and thought it was a great opportunity for people to get their stuff out there,” O’Connor says.
The Art Center’s Main Gallery teems with these artists’ watercolors, paintings and drawings based on a variety of pop culture, ’50s rockabilly and traditional tattoo references (think old-school versions you might see on a sailor’s back, says O’Connor). Also on display is “flash,” or the drawings customers can choose from at tattoo parlors. “It’s a lot of imagery people can relate to,” he says.
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For sure, the well-received show has expanded the Arts Center’s traditional patron base. And that’s the way O’Connor likes it.
“We get a lot of people to go to the gallery who normally wouldn’t have gone there,” says O’Connor, who’s been pleasantly surprised at its strong reception. “It’s a pretty accessible show; it’s not one that’s intimidating to look at.”
Tim “Freebird” Krings (right) of Aurora honors his parents, Gale and Bonnie Krings, with tattoos on his calves.
Krings, 57, is one of the enthusiasts crowding the O’Hare Ramada Hotel this weekend for a tattoo artists’ trade show called the Inkin’ Lincoln Tattoo Jamboree.
There are tattoos everywhere, big and small, portraits and skulls, abstract art and animals. The conventiongoers range from novice tattooers to those covered in tattoos.