The thesis is about the art, aesthetics and ethics of tattooing, for answering these questions: How do tattoo artists and their clients engage with and shape tattoo art and its aesthetic? And how do these tattoo artists’ ethics influence their relationships with their clients and art? These questions are answered at Flax Roots Tattoo Studio, a tattoo business in Hamilton, Waikato, New Zealand. This studio offers clients different styles of tattooing to choose from, like Moko, Traditional European, Portrait, and Traditional American.
Tattoo artists and their clients differ in ethnicity, nationality, religion, sex, occupation, age, hobbies, and so on. Anthropological research and philosophical insight provided the framework texts for my case study. The fieldwork consisted of semi-structured interviews and photographs of artists and clients. By participating in tattooing, these individuals influence the art and the aesthetic tastes of their local culture. Additionally, tattoo artists follow an ethical code that dictates how to run their business, preserve their art, and protect their clients.
Table of Contents
1. Preliminaries
1.1 Art and the Aesthetic: Theory and Praxis
1.2 Art: Apart from Society?
1.3 The Aesthetic: Apart from Society?
1.4 Modern Moko’s Historic Roots
1.5 The Culture of Moko in Contemporary New Zealand
1.6 Tattooing Culture: Research in the USA and Great Britain
1.7 Ethics of Tattoo Artists
1.8 Summary of Preliminaries
2. Methodology
2.1 My Role as Researcher
2.2 Data Analysis: Importance of Grounded Theory
2.3 Qualitative Approaches in My Case Study
2.4 Limitations
3. Interviews, Photographs, and Observations
3.1 The Tattoo Scene in Hamilton
3.2 Artists at the Tattoo Studio
3.3 Marc Wymer: Owner and Tattooist at Flax Roots Tattoo Studio
3.3.1 - Francis: Skulls
3.3.2 - Vaughan (and Marc): Kowhai Ridge
3.4 Brandon Martin: Tattoo Artist and Apprentice
3.4.1 - Rhian: First Time Tattooed
3.5 Ali: Artist who Tattoos
3.5.1 - Tracey: Attention to Detail
3.5.2 - Justin: Tattoos for Loved Ones
3.5.3 - Robert: First Among Equals
3.6 Makkala: Being a Tattooist is a Luxury
3.6.1 - Kylee and Darryn: A Couple in Love with Tattooing
3.6.2 - Lisa: The Crafty Tattoo
3.6.3 - Marc: Tattoos Tell My Story
4. Discussion
4.1 Individual Taste: Personal Aesthetic and Art Influenced By Culture
4.1.1 1. Describing and Valuing Tattoo Art
4.1.2 2. Global Cultures Influencing Taste and Tattoo Styles
4.2 The Culture of Tattooing and An Individual’s Role in Tattoo Art
4.2.1 1. The Role of the Aesthetic in Tattoo Art at Flax Roots Tattoo Studio
4.2.2 2. Tattoo Art as a Functional Practice
4.3 Ethical Practice at Flax Roots Tattoo Studio
Research Goals and Thematic Focus
The research examines the relationship between tattoo artists and their clients at the Flax Roots Tattoo Studio in Hamilton, New Zealand, focusing on how these participants define, shape, and value tattoo art as both a professional practice and a personal aesthetic expression within their local culture.
- The intersection of art, aesthetic tastes, and cultural identity in tattooing.
- The influence of local vs. global tattoo styles on personal and social identity.
- The role of ethics and professional codes in the studio environment.
- Anthropological and philosophical perspectives on the agency and functionality of tattoo art.
- Generational differences in the perception and acceptance of tattoos as an art form.
Excerpt from the Book
Marc: Tattoos Tell My Story
“My tattoos, the first thing they are is they’re actually for me even though they’re visible to other people. They’re actually for me. I don’t wear them for other people. I wear them for myself. I wear them as an expression of what I stand for and who I am. I like story tattoos whether it goes back to the gangs or whether it’s to do with my family. Or it’s to do with where I’m from or maybe where I’m going.” – Marc in Interview (February 7, 2015)
The year was 1971 when Marc got his first tattoo at age 11. The tattoo was a cross; it has since been covered-up:
Marc: But what I find interesting about the cross is the fact it was the very first tattoo that I did. And the circle of my life has actually brought me back to that religious tattoo, which is interesting (February 7, 2015).
The cross tattoo was done in Wellington by a professional tattoo artist named Roger Ingerton. He is considered a granddaddy of the tattooing profession in New Zealand.
Summary of Chapters
1. Preliminaries: This chapter reviews anthropological and philosophical theories regarding art, aesthetics, and ethics to establish the conceptual framework for the study.
2. Methodology: The author details the research design, including the use of grounded theory, semi-structured interviews, and photography to investigate the tattooing culture at Flax Roots Tattoo Studio.
3. Interviews, Photographs, and Observations: This section presents the primary fieldwork data, including detailed profiles and conversations with the four studio artists and their clients.
4. Discussion: The final analytical chapter synthesizes the fieldwork findings with the established literature to address the research questions regarding art, aesthetic taste, and ethical practice.
Keywords
aesthetic, agency, anthropology, art, culture, ethics, ethnography, Gell, Hamilton, Moko, Maori, Iban, Kelabit, tattoo, tattooing, tattoo studio
Frequently Asked Questions
What is the core focus of this research?
The study investigates the aesthetic attitudes and professional practices within the Flax Roots Tattoo Studio, exploring how artists and clients collaboratively engage with tattoo art.
What are the primary themes addressed?
Key themes include the interplay of cultural identity and art, the professional ethics of tattoo artists, the evolution of tattoo styles, and the social function of body modification.
What is the main research question?
The study primarily asks how tattoo artists and their clients engage with and shape tattoo art and its aesthetic, and how the tattooists' ethics influence their relationships with clients and their work.
Which methodology does the author employ?
The author uses a qualitative case study approach, utilizing semi-structured interviews, participant observation, and grounded theory to analyze the data collected during fieldwork.
What does the main body of the work cover?
The main part of the dissertation details the specific local scene in Hamilton, provides profiles of the four artists and their clients, and discusses the broader social and philosophical implications of their tattooing practices.
How can this work be categorized by keywords?
The work is defined by its focus on anthropology, the anthropology of art, aesthetics, ethical practices in tattooing, and the specific cultural context of New Zealand, particularly Maori Moko and other styles.
How do the tattooists at Flax Roots Studio handle requests for tattoos that they find ethically or aesthetically questionable?
The artists prioritize professional integrity and quality of work; they often refuse to perform tattoos that do not align with their artistic standards or that they believe will hinder a client's future opportunities, such as neck or facial tattoos for younger, inexperienced clients.
What role does the "expressive theory of art" play in the author's analysis?
The author critically examines the expressive theory of art—the idea that artists encode their emotions into their work—and finds that while some artists feel deeply connected to their tattoos, others prioritize technical precision, aesthetic composition, and social functionality over emotional expression.
- Quote paper
- Mandy Shaver (Author), 2018, Art, aesthetics and ethics of tattooing, Munich, GRIN Verlag, https://www.grin.com/document/503685
