Tattooing is an art, a craft, and a rare trade that, like kitchen work, is open to both masters of fine arts and industrious hoodlums. Having a tattoo is an affiliation and people whose lives are intertwined with tattoos are apt to discuss them—the permanent gift, the bond between artist and “canvas,”the bloodletting—in quasi-religious terms. Many of them resent attempts to dilute their culture and cash in on their gruff glamour.
It’s getting harder to distinguish between tattoo culture and the mainstream. In the last decade there have been at least five tattoo reality shows and a 2010 Pew Research Center study found that 38 percent of 18 through 29-year-olds have tattoos, compared to 15 percent of baby boomers. During this year’s Super Bowl, a lush black and white commercial took us on a tour of David Beckham’s body art, repurposing an ancient practice to sell underpants.
A few weeks earlier, I’d gone to Washington to learn about the tattoo world and to join it. I’d never wanted a tattoo before, or even found them particularly attractive, but as I started making phone calls it seemed like a minor imposition to understand what I was writing about. “There’s a whole different aspect when you’re in the chair,” an artist named James Cumberland said. “A camaraderie … Having to deal with a little bit of pain.” He convinced me. I thought it would be irresponsible not to get a tattoo.
Practically every weekend, there’s a bland hotel somewhere in America where the inked hordes gather to drink, curse, scare bellboys, and scribble on each other. The second annual D.C. Tattoo Arts Expo took over the Crystal Gateway Marriott in northern Virginia, between Pentagon City and Reagan National Airport. The drafty, labyrinthine pile connects through a tunnel to Crystal City, a famously sterile complex of defense contractor offices, shops and apartments. It was MLK weekend, a few weeks before tattooers start banking their customers’ tax refunds at one hundred and fifty dollars an hour.
Outside the main hall, industry standard brand Eternal Ink displayed hundreds of plastic squirt bottles filled with colored ink. The catalog lists more than one hundred colors. The greens alone included: grass green, lime green, mint green, olive, nuclear green, avocado, spearmint, jungle green, dirty money, seafoam, honeydew, tropical teal, green conc[entrate], and green slime. An add-on set of ten zombie colors counted freshly dead, rigor mortis, decomposed skin, infected skin, and gangrene among the options.
by Alex Halperin, Guernica | Read more:
Photograph via Flickr by jackace
