Citation

Botz-Bornstein T. Gend. Place Cult. 2013; 20(2): 236-252.

Copyright

(Copyright © 2013, Informa - Taylor and Francis Group)

DOI

10.1080/0966369X.2012.674930

PMID

unavailable

Abstract

This article analyzes the spectacularly rising popularity of tattoos by showing that tattoos have become a spatial project in the largest sense: the way they participate in the creation of social space is different from that of tattoos before the Tattoo Renaissance. I explain this project as a shift from tattoos to body graffiti. In the past (predominantly male) tattoo-spheres could be located within the margins of society. Once an identity had been assumed through the adoption of a tattoo, the person could be assigned a particular geographical position within an urban sphere. Contemporary tattoos have this one-dimensional identifying function to a much lesser extent, which influences the way in which these tattoos create space. Within the new tattoo space, the skin does not wear the stigmatic mark, nor does it function as a screen of male desire, but it becomes a wall on which multiple desires are projected. In this sense, tattoos have become graffiti. I establish the particularity of the female tattoo as opposed to the masculine tattoo by focusing on an important element of the pro/contra discussion of female tattoos: the purity and 'blankness' of the female skin. Jean Baudrillard's concept of the blank female skin as a 'void' that men rush to fill with their own desires is central to this discussion. Finally, I show that the spatial function of narcissistically oriented female tattoos is at least partly established within the Suicide Girls interactive website. © 2013 Copyright Taylor and Francis Group, LLC.

Language: en

Keywords

body image; conceptual framework; cultural influence; tattoo; cultural geography; urban society; Baudrillard; space; cultural landscape; cultural relations; graffiti