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Your Bed is Your New Tattoo’s Worst Enemy!

By Durb

 

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Having tattooed for the last 25 years, I’ve seen my fair share of tattoos that have healed badly due to the client simply sleeping in their bed. Usually these tattoos have incurred most of the damage, infection and hard healing from when the client sleeps with their fresh, new tattoo with unseen dangerous elements lurking in their bed. Sleeping is definitely one of the greatest moments during a new tattoo collector’s day to do the most damage to their new artwork. When people sleep, they are for the most part completely unaware of pain or minor discomforts, allowing them to be completely unaware of their new tattoo sticking to sheets, seeping onto the sheets and exposing their skin to possible other irritations to the new tattoo. Some of the most common issues while sleeping with a new tattoo is simply sticking to bedsheets, but it’s what’s on those bedsheets that matters during the healing process.

Sleep has a profound effect on our mental, emotional and physical well being! Sleep is the time the body can undergo repair and detoxification, although it can also be a determining factor in healing up well or not so well. Poor sleep patterns are linked to poor health and slow healing. Those who sleep less than six hours a night have a shorter life expectancy than those who sleep longer and naturally tend to heal slower. Getting enough sleep can also help resist infection, as some studies of healthy young adults have shown that moderate amounts of sleep deprivation reduce the levels of white blood cells which form part of the body’s defense system, preventing the tattoo from healing quickly.

There are many dangers to a new tattoo that your bed presents nightly. On average, most people don’t wash their bed sheets and pillows often enough, providing the perfect environment for dead skin cells to breed, potential infection or cellulitis to begin in a fresh tattoo. Another aspect is that most people don’t consistently shower or wash their hair before they go to bed, possibly having sweat or having been exposed to multiple situations during the day. People also can have their pets or animals sleeping next to them every night which undoubtedly brings animal fur, dander and the often overlooked feces that are on animal paws from the ground or backyard in general, which is simply horrible news for a fresh tattoo. Animal fur and dander can cause cellulitis which in worse than just a mild infection. Dander is an informal term for a material shed from the body of humans and animals, similar to dandruff. It is composed of skin cells which can be a major cause of allergies and skin infections in humans. Cellulitis is a common skin infection that happens when bacteria spread through the skin to deeper tissues. It is caused by bacteria, most often strep or staph and a cellulitis infected area will be warm, red, swollen, and tender and usually needs extra attention and antibiotics to help the tattoo heal properly. Animal and human dander are typically the biggest problems with cellulitis or skin infections in fresh tattoos.

Some tips to help avoid an infection in your new tattoo while sleeping in your bed is to first be sure to wash your sheets before you get any new tattoo. Always wash your tattoo off before bed and immediately when you awake, this will help eliminate any infectious materials that you’ve collected on your skin throughout the day before resting for 6-8 hours. Covering your new tattoo with a breathable, non-stick wrapping right before you lay down is an excellent way to help prevent infection from the beginning, it not only protects your new tattoo from sticking to your clothing or bed sheets, it also creates a barrier between you and your bed and helps keep potentially dangerous elements in the bed off of the new tattoo while the pores in the new tattoo seal up and stop seeping plasma. Remember to always wash the tattoo off and allow it dry with no lotion, etc before wrapping it at night. Wearing a protective piece of loose, breathable clothing also helps create another barrier between your new tattoo and infectious bed elements. Be sure to sleep on the non-tattooed side of your body, A pillow works great to adjust and hold your body part in a position that’s comfortable. Try to keep the body part somewhat elevated above the heart to reduce pressure and swelling on the new tattoo. Always wake up, remove wrapping and wash immediately with anti-bacterial foam wash when you wake up.

The most crucial time for a tattoo to begin the healing process is within the first five days, these are the days when a new tattoo is at the highest risk for an infection from everyday situations. After the first few days of wrapping or being very clean and safe while sleeping with your new tattoo, you can go about your normal routine of antibacterial soap, bactine, non-scented lotions or ointments depending on how you normally heal your tattoos. I personally like to mist my new tattoo with Bactine, it helps the body to heal while it’s trying to do two things. One is to fight any oncoming infection, the second thing is to simply heal and repair the tissue. The Bactine simply reduces your bodies need to dedicate white blood cells to fight infection and allows it to focus more on actually healing. Remember, the first days of how you take care of your new tattoo will determine the healing process and ultimately it’s final look!

 


The Last Kalinga Tattoo Artist

Photo and Caption by Michal Duchek

www.travel.nationalgeographic.com
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A fascinating culture of the Igorot people brought me and my girlfriend to Kalinga. Head-hunting ceased decades ago, however, the motifs of Kalinga tattoos and the way they are being tattoed remains the same (charcoal and an orange thorn). We decided to visit this beautiful tribeswoman who is the last Kalinga tattoo artist. After a few days, long hours spent on buses and jeepneys, we were lucky to find a local guide Francis who brought us to Buscalan. We were overwhelmed how hospitable and friendly she is. Her natural beauty and her tattoo tempted me to ask her for a pose outside her dwelling.

Location: Buscalan village, Kalinga, North Luzon, Philippines


CALAVERA X ARTIST KIM SAIGH SWIMWEAR TO BENEFIT KEEP A BREAST

By Kailee Bradstreet

http://business.transworld.net/150141/news/calavera-x-artist-kim-saigh-swimwear-benefit-keep-breast/

Calavera x Kim Saigh x Keep A Breast

On Tuesday June 3, surf inspired swimwear label Calavera will show their support for young women from all walks of life by launching a limited edition tattoo print swimwear collection, designed by renowned artist Kim Saigh of television show LA Ink. For each suit sold, 50% of proceeds will be donated to The Keep A Breast Foundation in an effort to raise substantial funds to support the foundation’s educational recourses and community outreach.

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The campaign focuses on the concept that “every woman’s body is a work of art,” and to relay that idea, Calavera has created a short video filmed by renowned photographer Alberto Guglielmi portraying the story behind the limited edition tulip print.

PRESS RELEASE – Venice, California, Tuesday May 20, 2014 — Surf-inspired women’s active swimwear brand Calavera is set to launch a collection of limited edition tattoo print suits, designed by renowned artist Kim Saigh of television series LA Ink. For each suit sold, 50% of profits will directly benefit the Keep A Breast Foundation, supporting their mission of breast cancer eradication by educating young people about prevention, early detection, and cancer-causing toxins.

In order to support Keep A Breast, Calavera Founder Anna Jerstrom recruited the talents of renowned tattoo artist Kim Saigh; the result is a feminine and iconic floral print, inspired by the significance of this charitable partnership. In the lead up to the launch, Anna showed her commitment and passion for the program, by having Kim Saigh tattoo the signature print on her torso.

The pink, black and grey tulip motif will be available in two styles; Calavera’s best selling “Siren” bikini top (USD $65) and the one-piece “Leotard” suit (USD $126). From June 3rd, both styles will be available for sale online via the Urban Outfitter’s fitness and outdoor apparel division, Without Walls (withoutwalls.com) and the Calavera website (calaveraswimwear.com).

“Regardless of size, shape or scars, every woman’s body is a work of art. My hope is that women will wear these swimsuits with a sense of empowerment, beauty and strength,” says Calavera Founder Anna Jerstrom.

Calavera also joined forces with renowned photographer Alberto Guglielmi, to produce a short film that visually portrays the story behind the limited edition print; from being tattooed on Calavera’s founder, being body painted on to the chest cast of a breast cancer survivor, and finally being created into a one-piece swimsuit, worn by actress and avid surfer Tanna Frederick. Professional longboarder and esteemed photographer, Kassia Meador concludes the video with an important message reading, “every woman’s body is a work of art.”

About the launch event: To launch the collection, Calavera will host a cocktail event and film screening at creative design agency space, Nouvelle Vague (701 Venice Boulevard, Venice, CA) on Tuesday, June 3rd, from 6pm to 8pm. Limited edition temporary tattoos of the Kim Saigh print will be applied to guests and the short video produced by Alberto Guglielmi screened for the first time. A customized piece of breast cast art, molded from the survivor featured in the video (casted by Shaney Jo Darden and painted by Kim Saigh) will be available via silent auction. Breast cast art is an ongoing initiative developed by Keep A Breast; taking formation plaster casts of women’s chests, and developing them into customized works of art. DJ MisterG will be playing the night’s tunes, while refreshments will be supplied by Vita Coco and Bon Affair spritzers. A “Cirque Du Soleil” aerial performer Sarah Moser will welcome guests, performing tricks in the Calavera leotard suit.

This is the latest in an ongoing collaboration between Calavera and Keep A Breast. In September 2013, Calavera hosted a “Surfing for Survivors” event at Santa Monica beach, throughout which Keep A Breast cancer survivors took to the waves, with the same vigour and bravery they used to manage their illness.

Shaney Jo Darden, KAB Founder says of the partnership, “Calavera and The Keep A Breast Foundation are two innately aligned brands, brought together by their similar missions to inspire and support young women. I hope this tattoo print suit will be worn as a reminder for women to stay active, get educated, and be empowered.”

About Calavera:

Started by Swedish investment banker-turned-surf obsessed swimwear designer Anna Jerstrom, Calavera is a technically driven, stylish triumph. Built for riding Kauai’s curls, beachside yoga in Bali, sunning in Santorini and everything in between, these bathing suits don’t budge. In creating Calavera, Jerstrom has applied design innovations to fill a large gap in the marketplace: performance swimwear for women that can handle the most rigorous environments yet is feminine and flattering enough for the most relaxed. For more information please visit the Calavera website, Facebook and Pinterest.

About Keep A Breast:

The Keep A Breast Foundation™ is the leading youth-focused, global, nonprofit breast cancer organization, with mission is to eradicate breast cancer for future generations. Keep A Breast provide support programs for young people impacted by cancer and educate people about prevention, early detection, and cancer-causing toxins in our everyday environment. For more information about Keep A Breast please visit the website, Facebook, and Twitter.

About Kim Saigh:

Kim Saigh is an American tattoo artist and TV personality. She has been tattooing professionally for over 16 years and is best known for her work as a featured tattoo artist on the TLC reality show, LA Ink. Kim previously owned tattoo shop Cherry Bomb Tattoo Studio in Chicago before appearing on the show and now currently works at Memoir Tattoo in Los Angeles.

About Nouvelle Vague:

The launch event will be held at Nouvelle Vague, a unique creative talent agency with 25 years of experience in photography, motion and illustration. Recognized by the Sony World Awards and the International Photography Awards, the agency remains at the top of its league. For more information about Nouvelle Vague please visit the website and Instagram.


Arts In Context | A Moving Canvas

A message from Kate Hellenbrand:

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TODAY is the DAY!!!

PBS SPECIAL airing TONIGHT at 7:30 p.m. here in AUSTIN, Central Time~
Available on line thru their website tomorrow for the rest of the world to see.
This isn’t some crappy “reality” TV SHOW. This is a respectful overview of the real art of tattoo. It’s PBS, people!
I’ve continued to turn down “Ink Disaster” and “Tattoo Titans” and all the other crap thrown at me that is made up and disrespectful to my glorious art/craft. Thankfully, I held out. I am proud. And even though haters will pick it apart, I say: SUCK IT!
I am almost excited enough to buy a TV (which I don’t have) and subscribe to cable (which I won’t do) so gratefully I’m going to watch at Chris Kirkpatrick’s home with his lovely wife Christine. He’s the client
getting the girl with the cobra that you’ll see.

LEMME KNOW WHAT YOU THINK

And we have some photos up on the website: www.artsincontext.org
and also on the Facebook page: https://www.facebook.com/ArtsInContext


Freehand Tattoo by Carl Grace


Stay Humble with Dave Wah: The Exclusive Tattoo Snob Interview

By Kevin Miller
www.tattoosnob.com
I generally excited about everything that’s posted on Tattoo Snob, but I’m really excited about my interview with Dave Wah. Dave has been killing it for a long time, and he recently opened Stay Humble Tattoo Company in Baltimore, Maryland. I shot Dave a handful of questions about his tattooing, opening up a new shop, who inspires him, and what else he has lined up for 2014.
This interview is a must read. If you’re anything like me, you’ll be checking flight prices and planning a tattoo getaway to Baltimore by the end of the interview.
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Tattoo Snob: For those who aren’t familiar with your work, can you give them the basics?
Dave Wah: I guess I would consider myself to be an artist who likes to do a little bit of everything. I’ve been lucky enough to work with some great veteran artists over the years, including Uncle Pauly and Eric Gregory, who really stressed the importance of being versatile. My work ranges from realism to traditional, however I do try to incorporate my own style into everything. I think the range of styles I use keeps me motivated to keep creating. I’m not sure if it’s a good thing or bad thing that I don’t have a particular style, all I know is I love going to work everyday.
TSdave-wah-1-214x300: Let’s talk about Stay Humble Tattoo. Tell us a little about the shop, and what led you to this path.
DW: I opened Stay Humble Tattoo Company in Baltimore, Maryland last october and things have been amazing ever since. The time just seemed right to head out on my own, I’ve developed a large clientele base and I’ve always wanted to work closer to the city. My father has owned his own business for over 35 years and he always taught me the benefits of working for yourself. I also had the benefit of working under Vinnie Myers for the past 5 years, and he is easily one of the most successful people in tattooing.
It’s a second floor shop, and I set it up to be a semi-private studio. There’s limited signage outside and you kind of have to know I’m there to even know it’s a tattoo shop. I tattoo by appointment only and it’s a super laid back environment. It’s kind of nice having a little hidden place to do my work.
TS: Your work ranges from black and grey, to traditional, to neo-traditional, to realistic. How did this come about? Do you have a preferred style?
DW: I think there’s a few factors that led to me doing so many different styles. I think the number one reason is I truly love almost every style of tattooing. I never understood artists who only liked one style and hated everything else. There’s value in so many different styles of tattooing. Another thing that led to me being diverse is my background in realism. As a kid growing up my focus in drawing was realism, so when I got into tattooing I was able to incorporate realistic techniques into traditional tattoo designs. The last reason is that it took me a long time to figure out how to do a solid tattoo, I worked at street shops and I kind of jumped around trying different things to find what was right for me. Tattooing is hard.
My favorite style tends to be illustrated realism, not even sure if that’s an actual style haha.
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TS: With being comfortable in so many different styles, do you suggest different styles based on the subject matter or what the client asks for?
DW: I’m very fortunate that most of my clients tend to let me do whatever style I want. Once they give me the subject of their tattoo I consider what style I think it would look best in, and what style would look best on them. I’m also very aware of my limitations as a tattooer, so I think about how I can utilize my strengths to make the tattoo work.
TS: I see your website states that you no longer do coverups. Why is that? Does this include lasered pieces?
DW: The short answer is that coverups are a pain in the ass and they stress me out. I will cover lasered pieces if they are light enough, I’ll also cover up small tattoos if it’s fairly easy. It’s such a shame that so many people are looking for cover ups these days, unfortunately I think the problem is only going to get worse over time.
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TS: Outside of tattooing, what do you do in your spare time?
DW: Spare time is pretty hard to come by these days, tattooing is pretty much my whole life. When I’m not working or drawing tattoos I spend a lot of time looking at tattoos online, good ones and bad ones. Other than tattoo related stuff I spend a lot of time in my basement studio recording and writing music. I’m really lucky to have a wife that gives me a good amount of freedom.
TS: Which tattoo artists inspire you? What about outside of the tattoo world?
DW: My favorite tattoo artist is Seth Wood. I don’t think I’ve seen a tattoo of his that I didn’t love. Some other artists who constantly amaze me are Jim Sylvia, Stefan Johnsson, Peter Lagergren, Mike Stockings, Emily Rose Murray, and Mike Moses, just to name a handful. I think we’re very fortunate to live in a time when everyone’s work is so readily available to see. I’ve only been tattooing a little over eleven years but I still remember having to wait for new magazines to come out see new work.
TS: Who was the last tattoo artist that tattooed you?
DW: The last two tattoos I got were from Steve Wimmer in Delaware and from Seth Wood when he was still in Brooklyn. Both were really great experiences, it’s really cool to see how every shop has it’s own unique vibe.
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TS: Who do you want to get tattooed by?
DW: I’d love to get tattooed by Jim Sylvia, Grime, and of course Seth Wood again. There’s a bunch of artists in Maryland who I want to get work from, Jason Reeder, Gary Gerhardt, Thomas Kenney, and John Rippey, all those guys are killing it.
TS: Any travel plans for 2014?
DW: I think most of my traveling is done for 2014, my wife and I just had our first baby so I’m gonna hold off on traveling till the end of the year or the beginning of 2015. Between the baby, a new shop, and the new house we just built my plate is pretty full. I usually do about 5-6 conventions a year but I’d like to do a lot more conventions and guest spots in the future. I also need to get back out to see my friends at Memento Tattoo in Columbus, Ohio. Those guys are on another level.
TS: Any last words?
DW: I’m currently looking to set up a steady rotation of guest artists at my shop in Baltimore. Working by myself has been great, but you can learn so much more by working with other artists. If anyone wants to set up a guest spot send me an email to dave@davewah.com with a link to your portfolio. Thanks so much for supporting me and putting my work on your website, it really means the world to me.

Reviving the art of Filipino tribal tattoos

By Aya Lowe

Source: www.bbc.com

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Each tattoo is designed around an individual’s life story.

The Spanish conquistadors who landed in 1521 dubbed the Philippines the Islands of the Painted Ones after the heavily tattooed locals. Nearly 500 years on, tribal tattooing is almost extinct. Aya Lowe met the islands’ last practitioner and those trying to keep the tradition alive.

For more than eight decades, Whang-Od has been inking the headhunting warriors and women of her Kalinga tribe.

Using the traditional “tapping” style, dating back a thousand years, she hammers ink into the skin using the spike of a calmansi (lime) tree attached to a bamboo stick that has been dipped in wet charcoal.

The simple designs are evocative of the nature around her in the mountainous region of the Cordilleras – outlines of centipedes, trees and snakes or basic geometric patterns such as diamonds and squares.

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Kalinga tribal tattoo artist Whang-Od

These, she says, are “earthly messengers from the gods [that] protect you from enemies or bad spirits”.

Not for the light-hearted, this slow, primitive method is extremely painful and would have been endured for short periods only. Large tattoos might take several months to complete.

However, at 94, Whang-Od – whose own skin is etched with a variety of designs – is likely to be the last of her kind.

Training her niece

Tradition dictates that skills can only be passed down family lines. Having lost the love of her life at the age of 25 in a logging accident, Whang-Od did not marry again and bore no children.

“It can’t be passed on to anyone else,” she insists. “It has to be within the same family because if someone else who is not from the same bloodline starts tattooing, the tattoo will get infected.”

However, the young in her village are not keen on adopting the body work of their elders. Though she is training her niece to carry on her work, Whang-Od says that her young relative is more interested in her studies to become a teacher.

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The “tapping” tattoo method is extremely painful and can be endured for short periods only

The preservation of tribal tattooing may, however, lie thousands of miles away in Los Angeles, where a group of dedicated members of the Filipino diaspora has been working hard to ensure the tradition is not lost.

Tatak Ng Apat na Alon, which translates as “Mark of the Four Waves Tribe”, was formed nearly 15 years ago in Los Angeles by Filipino-Americans.

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The traditions of the Kalinga tribe elders are not being adopted by the younger generation

Their name is a reference to the “waves” of immigrants who came to the Philippines.

The group has grown to become a global community made up of hundreds of people with Filipino heritage looking to revive the tattooing traditions of Filipino tribes by having their designs etched on their skin.

 

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Tribal tattoos have been popular with the Filipino diaspora

“People are sacrificing their skin to revive this ancestral form of art and make sure it is not forgotten,” says Elle Festin, the co-founder of the community.

“The only way you can find proof of designs is through oral history and artefacts. The only way to stop it becoming obsolete is by reviving the designs.”

Having left the Philippines as a teenager, Mr Festin said his journey into the world of tribal tattooing became a way for him to connect with his own heritage, something he felt he had lost growing up in the US.

“Filipinos in the Philippines don’t need to define themselves, but for the Filipino diaspora many are looking for a connection back to their heritage,” he says.

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Filipino heritage is essential if someone wants to have a tribal tattoo.

“It’s more important for them to define themselves as Filipino in a foreign country.”

Tattoos were a prominent feature among pre-Hispanic tribes of the Philippines. They acted as a corporal roadmap designating people by tribe and rank, acting as a protection charm or medal, or as permanent make-up.

Dr Lars Krutak, a tattoo anthropologist in the Visayas region of the central Philippines, says traditional tattooing practices had vanished in the region by the 1700s because of the presence of the Spanish military and the influence of the Church.

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But in Mindanao, an island in the country’s far south, and the mountainous region of the Cordilleras – the home of Whang-Od – the practice survived because of the area’s remoteness and warrior tribes who successfully defended their ancestral homelands from foreign invaders, like the colonial Spanish.

Pilgrimage

People who receive a tattoo have to be of Filipino heritage. The artists work closely with their clients to research their family histories and life events to create a design.

“We were very careful about how it grew and who our tattoo artists were,” said Mr Festin. “We didn’t want it to go viral and turn into a trend like Polynesian designs. We wanted to encourage curiosity to getting people talking about the meaning behind the markings.”

In 2008, Mr Festin made perhaps the most important pilgrimage in his career as a tattooist when he returned to his homeland to visit Whang-Od and the Kalinga tribe.

“When I first met Whang-Od I was afraid of what she would think of my designs, especially as they were modified from original form,” he said.

“But she was impressed with my tools and asked me to tattoo her. You could tell she was experienced by the way she lay down and stretched her skin.”

While the sight of a fully tattooed man or woman is becoming a rarity in the Philippines, it is this small dedicated group of enthusiasts, far across the ocean, that is keeping the art form alive, hopefully for many decades to come.

About the author: Based in Manila, Aya Lowe writes business, travel and human interest stories around South East Asia and the Middle East.


Tim Lehi’s Father, Rick Lee Peter’s Cancer Memorial Fund

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Donate to Rick Lee Peters and his family as he continues his fight against Cancer. Please help provide him peace of mind in his final days.

Rick Lee Peters received his Masters of Fine Arts with Honors from The University of Kansas.  But who needs a fancy piece of paper to notice the true talents of this man.  One peek at his repertoire is a clear display of a truly wonderful, creative and talented man who our Universe is preparing to take away due to Cancer.

He began his battle about a year ago and we all had hopes that he would pull thru this routine procedure.  The other side of the curtain must need some funny, bright new personalities and probably some new artwork!

As Rick prepares for a battle that his body no longer has control over, his family – his beautiful wife Jill, his son Tim and daughter Aimee, his grandchildren and a long list of loved ones and friends take comfort in being able to see and speak with Rick, and share encouraging hugs during these final days.  His good humor helps everyone ease thru an extremely heartbreaking and difficult process.

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Painting by Rick Lee Peters

Of course – with any medical battle there are costs involved.  Not only the hospital and treatment bills, but cost of living expenses, final resting costs, and the stress of being able to provide for loved ones once that fateful day has come.  One of Rick’s requests is to have a simple heart shaped headstone  -even the most modest design is worth a mint.

Rick has provided this World with laughs, smiles, love and brightness – not only thru his amazing being but thru the beauty of his artwork.  Whether you knew him in person or not – his paintings and sketches will spread a smile across your face and in your heart.

Skip the line at Starbucks and donate that $5 to someone who really matters.  No amount is too small or too big.  Every little bit helps.  Please donate and share this fundraiser with others.  

Thank you and much peace.

For donations, please visit: http://gfwd.at/1oQHJQO

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Last Rites Tattoo Studio and Last Rites Gallery presents: Lastrites.tv

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Lastrites.tv: A NEW and Online Community

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New York, May 2014 – Last Rites is excited to announce the launch of its brand new website, Online Community and Forum. Lastrites.tv will serve as the umbrella site for both Last Rites Tattoo Theatre and Last Rites Gallery, uniting the two separate meccas for the dark arts under one roof, alongside the birth of the Last Rites Online Community. Although Last Rites Tattoo Theatre and Last Rites Gallery will still exist independent of one another, we hope this new site will make it easier for our patrons to enjoy all the talent and beauty under one roof, similar to our space at 325 West 38th Street in NYC. Our intention is to provide a digital space to serve as a comprehensive community of like-minded individuals that have a true appreciation for the dark side of art.
We’ve designed the structure of the website to make your journey simple yet visually stimulating as you peruse all facets of the dark art world that is Last Rites. Our main navigation gives constant access to Last Rites Tattoo Theatre, Last Rites Gallery, the Last Rites Store, Forum and Online Community. Each category gives you access to drop down menus allowing you to choose which component you wish to explore. Further, we have integrated social media streams, videos, appointment forms, a forum and tons of images for your viewing pleasure! It is our hope that our patrons will browse and interact with the art and one another on our platform through our Forums and Online Community.

Paul Booth truly wishes to unite friends, fans, and enthusiasts from both the Fine Art and Tattoo worlds. His inspiration and aspirations can now be accessed through the free Last Rites Online Community and Forum. The Online Community will allow visitors to create their own profiles, photo and video albums, chat, and interact with the website fully, including commenting and liking on artwork and pages. The Forum will offer a wide array of subjects to ponder and discuss, also accessible from logging on to the Online Community. It is our hope that these avenues of discussion and social sharing will allow you, without the restricting guidelines of censorship, to explore, contribute and embrace the dark arts.

Lastrites.tv is also mobile friendly and easily accessed from all smart devices. We hope our site proves to be ergonomic and a haven for all friends, fans, and enthusiasts.

Last Rites Gallery
325 West 38th st #1 NYC
212.560.0666

http://www.lastrites.tv

 

 


Sunrise News has No Love for Tattooed Ladies

By Kevin Miller

www.tattoosnob.com

This video by the Sunrise morning show in Australia has a lot of people upset, and for good reason. There’s too many ignorant statements to count throughout this segment, but the woman at approximately 1:00 takes the cake. She starts off comparing tattoos as a fashion statement, and then she informs everyone they’ll regret their decision to get tattooed. Oh, and she also discusses how men don’t find tattoos attractive and pokes fun at one of the tattoos they show as a visual example.

I tried to figure out who each one of these women were by using the ‘Meet our Team’section on the Sunrise website. Unfortunately all of their face lifts and botox sessions make them blend together.

I already sent my feedback to Sunrise using their Contact Us section on their website, and I would encourage you to do the same. Let’s tell Sunrise and theirs ‘news team’ what a bunch of ignorant assholes they are.

http://bcove.me/1a8f4ra1


GUEST BLOG: “TATTOOISTS, TATTOOED” EXHIBITION

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At the prestigious Museum du quai Branly in Paris, the “Tatoueurs, tatoues” opened on May 6th to great acclaim, with renowned tattoo artists in attendance for the opening, as well as international media (including the New York Times). Reviewing the exhibit for Needles & Sins, our friend Serinde in Paris offers her thoughts in this guest post as well as photos of exhibit pieces here on Flickr.

By Serinde

A tattoo exhibition? You mean, not in the corner of a tattoo convention? In a real museum? Well, it’s for real, and it’s happening now in Paris, at the Museum du quai Branly, which is quite famous for showing high quality exhibitions, usually specialized in anthropology and ethnology. And it is now showing “Tatoueurs, tatoues” (or “tattooists, tattooed”).

Of course, having a few tattoos myself, and being both interested and a bit educated in tattoo history and techniques, I had to rush there, and report back on what this exhibit has to offer:

The exhibition was curated by Anne & Julien (who’ve been involved in the modern art scene for many years now), and advised and directed by famed French tattoo artist Tin-Tin. The goal of the exhibit, as explained by Anne & Julien, is to show how tattoo, which has existed since ancient times, has changed, developed, disappeared, and been reborn to the art we know today.

tattooed arm mummy

In the first part, named “from the global to the marginal,” the exhibition tells the story of tattoo throughout history, and society. You can view a mummified tattooed arm from Peru, antique tools, and amazing portraits of Algerian tattooed women. This part also explores the role of tattoos in the navy, and in prisons with, among other things, a short movie that I highly recommend: “La peau du milieu” (1957), showing the “underground” side of tattoo, at a time when the meaning was much more important than the style, which was, well, rather poor.

Then, you enter the marginal and colorful world of sideshow, circus, freaks, and…traveling tattoo artists. As a transition, there’s a very interesting “Wall of Fame,” displaying a timeline of tattoo culture, including laws, techniques, famous tattoo artists, and famous tattooed people.

tattooed skin

The exhibition goes on with a focus on tattoo in Japan, North America, and Europe. The Japanese selection shows some stunning paintings, tattoo projects, photos of tattooed people, videos, a photo of a tattooed skin taken from a dead man (gulp! I first didn’t notice it was only a photo); other incredible artifacts include a kabuki costume painted so that it looked like a tattoo when worn by the actor. In the North America and European selections, there were more photos and prints of tattooed people, and interestingly, a copy of Samuel O’Reilly’s patent for his tattooing machine (and some modern day machines as well).

Moving through the exhibit, at this stage, museum goers now view works made by tattoo artists exclusively for this exhibition: 19 artists worked on “tattoo project” paintings, and 13 artists tattooed silicon body parts to great effect.

There’s also an exploration into the revival of traditional tattoo in Oceania and South-East Asia, displaying some impressive masks and head sculptures (I was especially impressed by those), traditional tools, as well as modern tattoo projects. There’s further cultural discussion of tattoo in China, the Latino and Chicano cultures in the US, among others.

At last, the exhibition ends with the “new generation” of artists, such as Yann Black and the “Art Brut” movement in tattooing, as a nod to the future of the art.

Tin Tin tattoo silicon

 

 

To read the rest of this article, go to: http://www.needlesandsins.com/2014/05/tatoueurs-tatoues-musee-du-quai-branly.html

 


*New* Photos Added To The Gallery

Tattoos by Hanumantra Lamar

www.modernbodyart.co.uk

Modern Body Art, Birmingham

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Woman’s journey to beat breast cancer ends with nipple tattoos

By Victoria Hansen

vhansen@abcnews4.com

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MOUNT PLEASANT, S.C. (WCIV) — It’s been five years since Sharon Dempsey took the shower that changed her life. She bent down to pick up a razor and immediately felt it, a lump beneath her breasts.

“My tumor was right under where they pull it up so it never made it on to the mammogram screen,” said Dempsey.

She quickly called her doctor.

“I said, ‘Dr. Scott, I felt something I’ve never felt it before. It doesn’t move.’ I went in to see him on Monday and by Friday I was already lined up for surgery,” Dempsey said.

The moment is still vivid as she makes what she hopes is her last doctor visit.

“I’ve always before I’ve had any of my procedures, I do research about it and there’s not a lot of research out there on how they do the tattooing,” she said.

At 55, Sharon is about to get her first tattoo — make that two tattoos.

“I wasn’t nervous until my son told me it was going to hurt, and then yes I was nervous,” she said.

Dempsey lives in Irmo, but has come to The Center for Natural Breast Reconstruction in Mount Pleasant to have most of her work done. Here, Dr. James Craigie took fat from her belly to build new breasts

“Tummy tuck and like the ladies at work say, I’ve got 18 year old boobs,” said Dempsey.

 

But that’s not all. Dr. Craigie even managed to create natural looking nipples from Sharon’s own skin.

“Well, we take the skin that is there and we turn the skin on itself,” said Dr. Craigie. “And we fold it up and we actually make the nipple from that skin.”

The nub of skin certainly looks like a nipple, only it lacks texture and color. There is no areola, just pale skin.

That is where medically trained tattoo artist Kimberly Kay comes in. She greets Dempsey for this final appointment, walking her through every detail.

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“I will mark you in the area that will be the size of the tattoo, and then we’ll do color matching against your chest,” she said.

Together, Dempsey and Kay decide the size and shape of her new nipples. They use stick ons to trace.

The next decision is color.

“She said normally your areola matches your lips and that is why she wanted me to remove my lipstick so that she could match it,” said Dempsey.

Like an artist, Kay pops open small pots of color — pink, beige and brown in so many shades.

“She basically takes a little pot and she just starts mixing the color and then she puts splotches on your skin,” said Dempsey.

Once the perfect combination is created, Kay cranks up the tattoo needle, but not before giving Sharon a little numbing medication. Dempsey does have some sensation still in her chest.

“She does a basket weave when she does the tattooing. She goes this way and then she goes this way,” said Dempsey.

“There are different techniques,” said Kay. “It’s not exactly drawing. We have to actually put it into scar tissue.”

Kay pushes the tattoo needle hard, but Dempsey doesn’t flinch. She’s been through so much more.

“I’m just thankful that I’m here,” she said.

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Kimberly finishes with some contrasting colors for a more realistic look.

“I’m going to spot do just brown and actually just do a brown ring around the base of the nipple to create the shadow effect,” Kay said.

She hands Dempsey a mirror and the reaction is immediate: “I look normal again, I mean it looks normal to me again.”

Dempsey will no longer have to be reminded daily of what cancer has cost. Her new tattoos cover the physical scars that will eventually heal. Mentally, she’s ready to move on.

“Well my tattoos are symbolic. My tattoos symbolize that’s the end,” said Dempsey.

“I made it. It’s over, yeah. I did it.”

http://www.abcnews4.com/story/25497833/womans-journey-to-beat-breast-cancer-ends-with-nipple-tattoos?hpt=us_bn8&autoStart=true&topVideoCatNo=default&clipId=10153637


What is Art? (Part 2)

By Nick Baxter

Last year I started collecting my thoughts on the continual debate in my head about what art is, and how it can be (among other things) an effective form of communication. That effort was and still is intertwined with the process of further understanding my own art, and all other art, as well. In hindsight, I thought the initial writing (here and here) was a bit unfocused, and since it was also incomplete, I took the time recently to revisit those blog entries and rework them into a more cohesive essay.
The final part of that essay, as mentioned in the second of those prior blog posts, is about my belief that photojournalism can be viewed as a creative art form, possessing an almost-accidental form of raw beauty capable of inspiring other works of art (such as many of my own). This critique of photojournalism introduces broader questions about the “unintended” as art, and–for now–completes my investigation into the sneakily complicated debate “What is art?”

In the future I’ll post the final version of the essay in its entirety, but for now here is the “part 2″ continuation of those prior blog posts.

Photojournalism and the Unintended as Art

In the last 100 years, photojournalism has become a fixture of our visual landscape. On the surface, it’s simply defined as the use of images to tell a news story or to report on current events. In this role, the photos are not art, and their photographers are not acting as artists, which means their images are typically held to strict ethical standards of honesty, impartiality, and objectivity. But these attributes are graded on a scale that becomes increasingly inexact amidst the complexity of postmodern thought and the digital age of endless reproduction and re-appropriation. This is the point at which the question “What is art?” becomes relevant and fascinating to me, when applied to the medium of photojournalism.
I’ve always appreciated the naïve purity of an image that’s been produced with no pretense of art, utterly uninhibited by the finicky shackles of artistic rules or the whims of unreliable muses like inspiration. In this open and wild space, artistic qualities and natural beauty are given the chance to emerge on their own, unintended and raw, like the strongest of weeds in a perfectly manicured lawn, and photography seems to be an ideal medium for this phenomenon. This element of chance can produce quite powerful images, capable of communicating intensely to the viewer while remaining—and precisely because they remain—firmly grounded in the truth of reality “as it happened.”
And so the commonplace photos we’re bombarded with through ever-increasing media saturation begin ostensibly as visual data comprised only of ‘facts’ or neutral information, yet end up loaded with symbolism, embedded with the perceptions and beliefs of their creators and audience after becoming the subject of this artistic line of inquiry.

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One of my all-time favorites (sorry I could not find the photographer or credit online).

In studying art history, it seems this afterlife of the journalistic image became much more possible in the wake of the Dada movement, when artists (including photographers) carved out new niches for their work beyond mere decoration or commemoration of important people or places. Art in the 20th century became increasingly deconstructivist, philosophically charged, and conceptual in nature, filling multiple roles while having its meaning manipulated by the increasingly complex worldviews of both creator and audience1.

Because of this evolution, just about anything could be considered art in the right context, meaning that most contemporary art now resides as much in the blurry, ambiguous realm of provocative ideas as it does in the realm of traditional craft. Hence a museum visitor might encounter an exhibit of random paint splotches that, beneath its completely underwhelming, childlike appearance, contains a metaphor referencing complex political or psychological theories learned by the artist through years of intense academic study.

 

This can be maddening to the viewer who simply wants to marvel at a skillfully executed object of beauty, or it can be liberating for those who want to engage in debate, controversy, or social change through the arts. My own art has always attempted to straddle this fence by incorporating the best of both worlds: technical, precise handling of paint in the realism tradition, yet depicting modern subject matter and informed by the angst and alienation of postmodern philosophies. It is my belief that photojournalism in the modern age, thanks to that 20th-century process of expansion and deconstruction, straddles a similar fence, one separating objective observations from subjective beauty and meaning.

This ability of the journalistic photograph to transcend genres is confirmed in the academic community by the fact that “Breaking News Photography” is a Pulitzer Prize category. This prestigious yearly award started in 1917 as a way to honor impactful achievements in American journalism, literature, and music. Winning photographs are resurrected as art objects, receiving appreciation for their poignancy and beauty—a second life of sorts, after their initial purpose or function in the journalistic media has been served.

This second life also takes the form of photo essays, curated and arranged into cohesive narratives, which are now commonly presented in art and lifestyle publications, fine art galleries, and museums throughout the world. Depending on the intentions of the photographer and exhibiting institution or publication, as well as the sensibilities of the viewing audience, these photographs may be appreciated for their communication about the world events that comprise their content, or for their artistic qualities—or both.

In his 1995 essay about the modern age of photojournalism, writer Richard Lacayo wades into the debate surrounding artistic subjectivity and meaning:

“Photojournalists tend to stay aloof from talk about camera aesthetics. There is something about dodging gunfire in Beirut that discourages ruminations on style, understandably enough. More to the point, no one who catalogs bloodshed or poverty wants to be thought of as yet another vendor to the senses. Some news photographers spend half their lives chasing wars; who can blame them if they reach for the door when they hear the word art? …The stereotype survives: artists have visions; journalists have assignments. They may both think to themselves, ‘I am a camera,’ but each means something different.

“Yet aesthetic questions have a moral dimension. Color is pretty; misery is not. How does one keep the simple appeal of color from confounding the full range of meanings a photograph may convey? If pictures of genocide come to us in the muted pastels of a GAP ad or the vivid hues of a rock video, how does a photographer keep atrocity from looking palatable?”2

While the moralist in me sympathizes with this sentiment, the artist and rebel in me, raised in an age of cynicism, desensitization, and ambiguity, views adjectives like ‘palatable’ as mere subjective opinions, impossible to resolve into an absolute truth for all to agree on. Human culture is so diverse that practically anything could be considered palatable art, by someone. And so I answer Lacayo’s question with another question: “Why should the photographer keep atrocity from looking palatable?”

I want to ask this question not because I enjoy atrocity, but because I am capable of the postmodern complexity of holding multiple feelings and competing appreciations within me simultaneously. In this case, that multiplicity includes the horror and revulsion at the tragic events occurring in our world as well as the aesthetic delight at the spectacle of color, shape, line, emotion, symbolism, and meaning on vivid display, emerging somewhat accidentally (and perhaps with more purity) through the photojournalistic medium.

As if to concede this very point I’m making and pay homage to the “What is art?” debate, the author goes on to admit, “The most capable photojournalists…have learned to incorporate the unruliness of color into a deliberate statement. …Barbaric rule can operate in the broadest daylight, suffering can happen in sensual settings, a place can be cruel and inviting at the same time.”

And so we see that through the inescapable conduit of subjectivity, passive observation becomes intentional communication, and thus, photojournalism can also be the highest of art forms, loaded with inspiration for artists working in any medium. I’ve always appreciated the best journalistic photography for this transcendent ability, the point at which the happenings of this world become awe-inspiring images, and the deepest truths contained in the human condition are put on poetic display.

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Various newspaper and magazine clippings I’ve save over the years for reference and inspiration.

So once and for all, “What is art?” This question may never be fully answered. But with an integral approach and an open mind, artists and viewers alike can use this line of inquiry to enrich their experience of reality, to deepen the communication that is the purpose of all art, and to find beauty everywhere, even where it may be unintended.

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Another powerful, poetic image (sorry I couldn’t find the photographer or image credit online for this one either).

1The Situationists of the 1960s took this evolution to the extreme, espousing radical anarchist views on art that embraced destruction and merciless re-appropriation of all imagery, in the service of transforming society and conscious reality into a powerful and playful dialogue with the present moment.

2Lacayo, Richard. “IV: Resurgence 1980-1995.” Eyewitness: 150 Years of Photojournalism. New York CIty: Time, 1995. 166. Print.


Mark My Words. Maybe.

By Leslie Jamison

www.nytimes.com

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MY tattoo kept getting delayed by other people’s weddings: a bachelorette party in Vegas, cliff-top vows in Zion, a ceremony in Westchester. I wasn’t just attending the ceremony in Westchester, I was officiating at the ceremony in Westchester. I couldn’t picture giving my blessing in front of 200 people while my left arm glistened under Saran Wrap. I felt the slightest twinge of resentment. My life seemed perpetually tucked into the pockets of time created between the milestones of other lives.

I was getting the tattoo, in part, to mark a break from the man with whom I’d spent four years building and then dismantling a life. I was branding myself to mark a new era: my body was no longer entwined with someone else’s. It was mine alone again. I was moving to a new city and I had a new book coming out, and the tattoo would be its epigraph: “I am human: nothing human is alien to me.”

The quotation belongs to Terence, the Roman playwright. In the original Latin, it reads: homo sum: humani nil a me alienum puto. When I first came upon it, I felt its force beyond rational explanation. I knew it was something I needed to keep saying.

I got the job done by an artist who worked in a converted fire station. His walls were lined with giant beetles in jars of formaldehyde, taxidermied birds and bright oil paintings full of wizards and dragons. “Sure you don’t want anything drawn?” he asked, gesturing to his art. I pictured a dragon with a thought bubble: “nothing human is alien to me…” I said I was fine with just words. He wrote them in a cursive line from elbow to wrist. “I’m going to do this so we miss your veins,” he said. I said that sounded great.

It hurt just enough to make me feel like something was happening. There was a sense of deserving — that I’d earned this by hurting for it. It was an old logic I hadn’t felt in a while: Pain justifies ownership. It scared me, a bit. It also thrilled me. I left with Very Serious Aftercare Instructions and an arm encased like a pale sausage in plastic wrap.

The woman at the drugstore where I bought my Very Serious Aftercare supplies immediately wanted to know what the tattoo said. When I told her, she looked at me for a long time. “I think there is so much evil in this world,” she said, “and so much good.”

From now on, I realized, my body would basically be asking every stranger, “What do you think about the possibilities of human understanding?” During the months that followed, I found myself explaining the tattoo to a parade of strangers and acquaintances. It’s about empathy and camaraderie, I would say. Or else, it’s a denial of this lifelong obsession I’ve had with singularity and exceptionality.

We often think of tattoos as declarations of selfhood: this is what I am, love, believe. But there are other things we might inscribe on ourselves: what we fear, what we hate, what we hope to be but can’t yet manage.

“I am human; nothing human is alien to me” — my tattoo wasn’t true for me, not yet. But it was what I most needed to hear, an asymptote, a horizon.

On a hot day near the end of summer, another drugstore clerk reached for my arm with a searching look on his face. He was a large man, imposing.

When I told him what the tattoo meant, he shook his head. “There are people going through things in this world that are really bad,” he said. “Do you understand that?”

I tried to explain about aspiration, asymptote, attempt.

“You will leave a little piece of yourself with everyone you imagine,” he said. “You will get exhausted trying to give yourself away.”

I didn’t know what to say to this. I felt exhausted by him. I felt how much I needed, from him and everyone, a certain kind of response: to feel inspired by the tat, and tell me so.

“You tried to give me something,” he said, pointing at my arm. “But I blocked it. I blocked what you were giving me.”

He was interrupting the ticktock rhythm of my righteousness, saying something about the easy aphorism on my arm: how it didn’t go down easy for him and shouldn’t go down easy for me, either.

He wasn’t the only one with questions. My father wrote from the Rwanda Genocide Memorial: Did I really believe what my tattoo said, even about perpetrators of genocide? And on a first date, a man asked me whether my tattoo could even apply to evil? We never went out again. But there were other dates, other men wanting translations, running their fingers along the script. It started to feel uncomfortably like philosophy as accessory, something to match a certain kind of intellectual posture.

Before these men, there was a moment with the original man, the one from whom the tattoo marked my liberation. I ran into him on an ordinary afternoon, about a week after I got the tattoo and a week before I moved away from the city we shared. He was surprised to see my arm holding something it hadn’t held before.

I realized how different things were now. Something could happen to my body and it would be weeks or months before he knew about it. The tattoo was supposed to represent a new freedom but in that moment it felt like a shackle. It showed me how much it still hurt to feel the new distance between us. I felt that loss of proximity like a flesh wound.

It’s like being pregnant, people would tell me. Your body is a conversation-starter. Eventually I started drawing the comparison myself. But the truth was it didn’t feel like being pregnant at all. I was alone; my body was my own. It was a deep privacy, an autonomy tinged with sadness. It was the opposite of pregnancy, the residue of intimacy.

I’d always insisted I didn’t get the tattoo so that people would talk to me about it. In fact, I told myself I wanted nothing less. But at a certain point I’ve had to admit to a desire for contact I couldn’t own at first: It’s there and it isn’t.

The script is full of vectors pointing in opposite directions, a statement both aspirational and self-scolding, a desire to be seen and a desire to be left alone; a desire to have my body admired and a desire for my body to need nothing but itself, to need no affirmation from anyone. The tattoo holds an idea and its refutation, a man and his absence, a vote of confidence from the world and — in that downtown drugstore, on that humid day in summer — something more like the opposite.