Body Art Research Articles

The Appreciation of Tattoo Art among Malaysian

Tattoo art, once considered a taboo in many parts of Malaysia, is increasingly being recognized as a form of personal expression and artistic appreciation. This paper explores the evolving perceptions of tattoos within Malaysian society, emphasizing the factors contributing to their growing acceptance. Historically, tattoos were often linked to indigenous rituals, gang affiliations, or negative stereotypes. However, globalization, exposure to different cultures, and the rise of social media have shifted these perceptions, fostering a more nuanced appreciation of tattoo artistry. Through interviews, surveys, and analysis of tattoo-related media content, this study investigates the diverse motivations behind Malaysians’ decisions to get tattoos, including self-expression, cultural identity, and aesthetic appeal. The findings suggest that while conservative views persist, particularly among older generations and certain religious communities, a significant portion of younger Malaysians view tattoos as a legitimate art form. This demographic shift is influenced by the increasing visibility of tattoo artists, both local and international, who highlight the skill and creativity involved in tattooing. Furthermore, the study discusses the role of tattoo conventions and exhibitions in fostering a community of appreciation and learning. These events provide platforms for Malaysians to explore tattoo designs that resonate with their personal and cultural narratives, challenging traditional stigmas associated with body art. The paper concludes by suggesting that as societal norms continue to evolve, the appreciation of tattoo art in Malaysia will likely expand, reflecting broader global trends toward the normalization of body art as a personal and artistic choice.

A qualitative investigation of tattooing as an adaptive appearance investment: positive body image and eating disorder recovery in a predominantly transgender and gender expansive sample

ABSTRACT Tattooed individuals often express the positive effects of wearing body art toward improved self-image and confidence. This research builds on prior data exploring the positive effects of tattooing and investigates how tattoos impact one’s relationship to eating disorder (ED) recovery and body image. We held three focus groups lasting 60 minutes each, recruiting participants via purposive snowball sampling (n = 15), with additional opportunities to respond to focus group prompts asynchronously. Eligible participants were individuals with lived experience of an ED, self-identified as being in recovery, had three or more tattoos, and spoke English. Participants predominantly held gender-expansive (n = 4 Non-Binary, n = 3 Genderqueer, n = 3 Cisgender Women, n = 3 Transgender, n = 2 Transmasculine, n = 2 Gender Non-Conforming, n = 2 Intersex, n = 1 Cisgender Man) and non-heterosexual identities. Focus groups were held between April 2021 and July 2023 and followed a semi-structured interview format. Primary analyses focused on participants’ responses to open-ended prompts regarding how they understood the relationships between tattooing, body image, and ED recovery. Thematic analysis identified four core themes: Tattooing allowing for embodiment, tattooing allowing for recovery-oriented behaviors, tattooing enabling positive body image, and tattooing facilitating empowerment. An overarching message was that tattooing is a therapeutic and transformative process, allowing for self-determination. Participants indicated that tattooing can be experienced as a powerful mechanism for behavioral change and shifts in relationship to one’s body. Participants expressed that tattooing can be an effective route towards both gender euphoria and body liberation, enhancing one’s ability to maintain ED recovery.

The Art of Online Bodies: Surveillance, Identity, and Collective Narratives

This paper delves into the production of body images in internet art and its interplay with consumer society. Through an analysis of various works related to 'online bodies', the study uncovers the mechanisms of self-exposure and surveillance embedded within these images. These artworks illustrate not only how individuals portray themselves online but also how collective narratives emerge. Furthermore, the paper scrutinizes the role of body images within technological and cultural algorithms, shedding light on their significance in contemporary society.

A Study of the Baiga Women's Tradition of Tattoos, Modernization of this Art and Situation of Tattoo Industry in India

The Polynesian term "Ta," which signifies hitting something, or the Tahitian word "tatau," according to some anthropologists, may be the source of the word "tattoo." It is "to mark something." Since before the start of the Christian era (CE), tattooing—a kind of bodily modification—has been ingrained in the cultures of many indigenous tribes worldwide. It is also demonstrated by anthropological evidence of various tattoo designs from various cultures that tattooing originated independently in many parts of the world. For various tribes across the nation, getting tattoos has always been an essential aspect of daily life. Tattoos are considered an essential component of the culture and history of the Baiga tribe's women. With the tribal people of Central India, tattooing, sometimes referred to locally as "Godna," is a common form of body art that has deep cultural significance. In this work, the importance of tattoo culture among the women of the Baiga tribe in central India is discussed and examined. This study aims to provide an overview of the Baiga tribe the Particularly Vulnerable Tribal Groups (PVTGs) of Central India. It also explains the tattooing process, from the development of the indelible ink to the tattoo artist's application of the ink into the skin's dermis layer. At present, this art has been modernized to a great extent and the tattoo industry has become a major identity all over the world. At the same time, it has spread to many states in India as well. There are immense possibilities of development in this field in the future.

Medical and Societal Implications of Tattoos: From Ancient Traditions to Modern Risks and Removal Challenges

Tattoos, an ancient form of body art with roots dating back 5000 years, have evolved from cultural markers to mainstream symbols of self-expression. While historically significant figures like Amunet and Captain James Cook contributed to tattoo lore, modern celebrities like David Beckham and Kat Von D have propelled tattoos into popular culture. However, alongside their rise in popularity, tattoos also bring health risks. Research indicates that up to 67% of individuals with tattoos experience complications, with infections, allergic reactions, and scarring being common concerns. Moreover, tattoos can exacerbate existing medical conditions, particularly in individuals with diabetes, heart conditions, or immunosuppressive disorders. Individuals who are pregnant or breastfeeding face additional risks due to physiological changes affecting wound healing and immune response. The chemical composition of tattoo ink, especially in complex styles like tridimensional matryoshka tattoos, poses further health concerns, including heavy metal toxicity and infection risks. Adequate safety measures, including choosing reputable artists, proper aftercare, and thorough pre-tattoo screening, can mitigate these risks. Prompt medical intervention is crucial in severe complications, emphasizing the importance of awareness and precaution in tattooing. Additionally, tattoo removal methods come with their own set of risks and considerations, with laser therapy being the primary choice but not assuring complete removal.

»Nærvær« in absentia

Focusing specifically on body art, art historian Amelia Jones questions the »ontology of presence« which informs much performance art and theory. Jones claims that a differentiated reception must involve the immediate performance experience as well as different forms of documentation and historical contextualisation.

A IMAGEM COMO DESTINO

The aim of this work is to think and discuss some conditions for the body in the present time. At first, in the 19th century, photography and cinema produced images of bodies in a specific aesthetic context. The cinema promoted a certain continuity of attention to the body present in the ancient circus and body arts, while at the same time opened the difference of a new regime with the technical apparatus. I am going to reflect on the contemporary production of body images having as reference two axes: a) unity versus fragmentation; b) to be and to have a body.

Exploring the Role of Tattoo Discourse in Matotonan Village: Mentawai Tattoo Batik as an Effort to Preserve Tradition in Mentawai

In the remote islands of North Pagai, South Pagai, Sipora, and Siberut, the ancient art of tattooing is on the verge of extinction. However, amidst this cultural decline, a unique endeavor emerges in the heart of Mentawai: the preservation of tattoos through the intricate art of Mentawai tattoo batik. This qualitative ethnographic study delves into the depths dicourse of Mentawai tattoo batik, illuminating its significance in the preservation of Mentawai's rich tattoo heritage. Through meticulous observations across the four islands of Mentawai and in-depth interviews with tattoo owners, particularly the revered Sikerei who lead the sacred Lia rituals, this research uncovers the profound narrative woven within each tattoo motif. In Matotonan Village, once vibrant with tattoo culture, youth no longer hold tattoos in high regard, risking the loss of this ancient tradition. Yet, amidst this cultural shift, Mentawai elders embark on a noble mission: to immortalize the sacred symbols of their ancestors by transferring Mentawai tattoo motifs onto clothing. This symbolic gesture not only safeguards the legacy of Mentawai tattoos but also ensures their transmission to future generations. For the Mentawai people, tattoos transcend mere body art; they embody the sacred connection between humanity and the natural world of Mentawai. As efforts to preserve these timeless symbols gain momentum, batik adorned with Mentawai tattoo motifs emerges as a beacon of hope, igniting a revival of cultural pride and heritage in the heart of Mentawai. Through the production of tattoo motif batik as a burgeoning home industry, the legacy of Mentawai tattoos finds new life, promising to endure for generations to come.

Cutaneous Adverse Reactions Associated with Tattoos and Permanent Makeup Pigments.

Tattooing is the procedure of implanting permanent pigment granules and additives into the dermal layer of the skin, serving various purposes such as decoration, medical identification, or accidental markings. There has been a significant rise in the popularity of decorative tattooing as a form of body art among both teenagers and young adults. Thus, the incidence of tattoos is increasing, with expanding applications such as permanent makeup, scar camouflage, nipple-areola, lips, and eyebrows tattooing, and utilization in oncological radiotherapy such as colon marking. However, there have been reported a broad range of adverse reactions linked to tattooing, encompassing allergic reactions, superficial and deep cutaneous infections, autoimmune disorders induced by the Koebner phenomenon, cutaneous tumors, and others. These reactions exhibit different onset times for symptoms, ranging from immediate manifestations after tattoo application to symptoms emerging several years later. Given the limited information on a tattoo's side effects, this review aims to elucidate the clinical spectrum of cutaneous complications of tattoos in different patients. The analysis will investigate both allergic and nonallergic clinical presentations of tattoo-related side effects, microscopic findings from skin biopsies, and therapeutic outcomes. This exploration is essential to improve our understanding of tattoo-related cutaneous complications and associated differential diagnoses and highlight the significance of patient awareness regarding potential risks before getting a tattoo.

Transformative Perspectives: A Post-Critical View. Unraveling ORLAN’s Vision of Augmented Reality, Posthumanism, Body Art, and Feminism

This article delves into the daring practices of the French artist ORLAN, investigating her visionary approach through the lens of a post-critical perspective. We explore the dynamic interplay between new digital technologies, such as augmented reality, posthumanism, body art, and feminism, as embodied in ORLAN’s transformative works. Drawing from a post-critical stance, we analyse the transformative potential of ORLAN’s art, moving beyond mere critique to propose constructive alternatives. Augmented reality and her surgical digital performances in which she alters her body enable ORLAN’s interventions to challenge established norms of identity, personification, and aesthetic sensibilities. Following this, she considers technology to be the extension of the human body throughout her practices. The collaborative and dialogic dimensions of ORLAN’s augmented reality installations resonate harmoniously with the tenets of a new wave of critical theories, fostering participatory environments and nurturing communal engagement. By embracing a post-critical lens, this analysis unveils the transformative vision of the artist, underscoring its seminal import within the sphere of fine art movements, feminism, and the reconceptualisation of identity, embodiment, and aesthetics.

What does job applicants’ body art signal to employers?

In this study, we present a state-of-the-art scenario experiment which, for the first time in the literature, directly measures the stigmas surrounding job candidates with tattoos and piercings using real recruiters. We find that job candidates with body art are perceived as less pleasant to work with, less honest, less emotionally stable, less agreeable, less conscientious and less manageable. This goes hand in hand with lower hireability for men with body art but not for women. Compared to candidates who reveal obesity, a characteristic we also randomise, those with body art score better overall in terms of hireability and rated personality, similar in terms of rated taste for collaboration but worse in terms of rated direct productivity drivers.

Analysis of Biomorphic Inspiration-based Facial Art Makeup Expressions

Humans live in a close relationship with the mechanism of nature, and it has been a research topic for a long period of time. Historically, people have taken a lot of inspirations from nature and used creatures in nature as a source of their ideation for the purpose of solving diverse problems. At present, biomimic design converged with nature has been used in multidisciplinary fields such as architecture, medicine and fashion. Under these circumstances, this study attempted to suggest artistic values and a possibility of continuous expressions in beauty makeup through infinite uniqueness and diversity by applying biomorphic design. For this, an empirical research was performed based on the concept and design characteristics of biomorphism. In addition, the pictures on the websites were applied to biomorphic design processes. Based on the characteristics of each creature, three face artworks were created in a formative manner, using the colors which are good for each topic. The results found that the application of beauty and art to creatures in nature builds multilateral and unique ideas and, at the same time, makes creative face art possible by going beyond conventional standardized beauty. Therefore, it is anticipated that there would be further studies on creative face art design based on ‘biomorphic design methodology’ by upgrading the standards of body art through the continued development of unique and diverse makeup design.

Occurrence and Regulatory Evaluation of Contaminants in Tattoo Inks

Tattooing has been an enduring form of body art since ancient times, but it carries inherent health risks, primarily due to the complex composition of tattoo inks. These inks consist of complex mixtures of various ingredients, including pigments, solvents, impurities and contaminants. This literature review aims to shed light on the organic and inorganic contaminants present in tattoo inks prior to the implementation of the Registration, Evaluation, Authorization and Restriction of Chemicals (REACH) regulation in 2022. This review shows that the most common contaminants are polycyclic aromatic hydrocarbons (PAHs), with a concentration range of 0.005–201 mg/kg, mainly detected in black tattoo inks, and primary aromatic amines (PAAs), with a concentration range of 0.5–1100 mg/kg, and heavy metals such as lead (0.01–14.0 mg/kg) and chromium(VI) (0.16–4.09 mg/kg) which are detected in almost all tattoo inks. When compared to the new concentration limits outlined in REACH, it is clear that a significant part of these contaminants would be considered non-compliant. However, the results of the review are limited due to the lack of quantitative data on contaminants in tattoo inks. In addition, the future implementation of REACH is expected to lead to changes in the composition of tattoo inks, which will affect the presence of contaminants.

How exposure to body neutrality content on TikTok affects young women’s body image and mood

Body neutrality aims to encourage a non-judgmental attitude towards the body and prioritize functionality over appearance. This study examined the impact of exposure to TikTok body neutrality content on young women’s body image and mood. The sample comprised 189 undergraduate women (Mage = 19.25, SD = 1.98) who were randomly assigned to view one of three compilation TikTok videos on body neutrality, thin ideal, or art. Controlling for pre-test measures, results showed that women in the body neutrality group reported higher functionality appreciation and body satisfaction than women in the thin ideal and art control groups. Higher levels of positive mood and fewer upward appearance comparisons were reported by women in the body neutrality group relative to the thin ideal group. Although women in the body neutrality and thin ideal groups thought about their appearance and what they were wearing whilst viewing the videos, women in the body neutrality group reported that those thoughts were more positive than those in the thin ideal group. Findings demonstrate that brief exposure to body neutrality content on TikTok may induce immediate positive body image and mood in young women whilst providing a useful alternative to the unrealistic beauty standards popularized on such platforms.

Behind the dinner table

Judy Chicago is defined by the art world as the founder of the concept of "feminist art." Her creations revolve around patterns with metaphorical and symbolic colors, such as "reproductive organs," "flowers," and "butterflies." In the 1970s, feminist artists began to contemplate using the female body as a subject of creation, using artistic language to advocate for the political metaphor of female reproductive organs as an independent center of discourse apart from male-centered phallic symbolism. This body art unleashes the freedom and nature that feminist artists have long been suppressed by patriarchal society. Against this backdrop, Judy Chicago created "The Dinner Party."

Body Art in China: Yang Zhichao's Diary from a Psychiatric Ward

This study aims to trace how artists in postsocialist China have adopted the discourse of body art and reshaped its import of sociopolitical criticality. In this article, “body art” implies the use of the human body as the primary material of artistic creation and the performance of actions of cruelty, modification, and endangerment on the artist's body. Through an engagement with theories of embodiment, biopolitics, and postsocialism, this article argues that body art represents one way in which the corporeal assumes a new centrality in China's post‐1978 avant‐garde and popular culture, as both a reappropriated territory of self‐expression and an alienated object of consumption and surveillance. To do so, it discusses body art by Yang Zhichao 杨志超 (b. 1962), focusing in particular on a performance artwork titled Jiayuguan 嘉峪关 (Jiayu Pass, 1999 – 2000) and its documentation by the artist. As a result, this article shows how body art encapsulates the tension between dystopian negativity and regenerative potential at the heart of the postsocialist condition.

Yang Zhichao’s performance art at the margins: Within the Fourth Ring Road (1999) and the Chinese contemporary

This article explores the theme of marginality in the art of Yang Zhichao, a critically and socially engaged experimental artist who has been active in China since the mid-1980s. Yang’s oeuvre – which includes performance artworks, drawings and installations – revolves around the issue of sociocultural marginality in reform-era society, from the condition of migrant workers, beggars and psychiatric patients to the borderlands of Chinese civilization and the condition of the avant-garde artist. Drawing also on Chinese art criticism and two interviews with the artist, this study examines in particular the performance Within the Fourth Ring Road (1999) through its photographic and literary documentation. While writing on Yang Zhichao’s art has largely focused on his most extreme performances of ‘body art’ such as Planting Grass (2000), the artwork at the centre of this study highlights an anti-spectacular approach to performance art and reflects Yang’s stated belief in the importance of placing oneself in the circumstances of marginalized people in order to move beyond a voyeuristic gaze. Through a critical analysis of said approach the article reveals a quality that pervades Yang Zhichao’s multi-disciplinary artistic career – that is, its ‘contemporariness’, in Giorgio Agamben’s sense as a focus on the darkest, most emblematic aspects of one’s society and time.

Aesthetic labour outcome and experience of individuals with tribal marks in Nigeria

Research on body art as a component of aesthetic labour has predominantly focused on individuals with tattoos in the global north, but little is known about tribal marks as a key element of aesthetic labour that leads to discriminatory or prejudicial attitudes in the workplace. Tribal marks are facial inscriptions that symbolize clan, family, and ethnic affiliation, and serve to distinguish one sociocultural group from another. In this article, we examine the lived experiences of people with tribal marks in Nigeria by developing a theoretical framework based on literatures on aesthetic labour, social stigmatisation, and discrimination. Drawing on the accounts of 42 individuals with tribal marks, we demonstrate how aestheticized work environments, biased assumptions, and negative perceptions about individuals with tribal marks can lead to discriminatory or prejudicial behaviours at work. We further discuss the psychosocial consequences and explain why tribal marks are now perceived to be outdated and damaging to those individuals who have them. We offer a novel perspective on the existing knowledge about aesthetic labour and broaden our understanding of another form of ‘lookism’ in a non-Western context.

Inking Cultures: Authorship, AI-Generated Art and Copyright Law in Tattooing

This article considers current advances in tattooing that are challenging community-held views of authorship and ownership, and the need to address this tension. The key challenge is from AI-generated artworks being used as tattoo designs, but the authorial role of the tattooist is also challenged by body art projects such as tattoo collection. Legal clarity for tattooing is lacking, and in addressing this, this article advocates for an open, community-based form of shared copyright ownership and authorship for projects as tattoo collecting, drawing on Dusollier’s and Mendis’ work. This article contributes to both copyright and cultural heritage legal scholarship, and to tattooing scholarship and the tattooing community. AI-generated art being tattooed on people has not been explored in the literature to date, and this article fills this gap. Furthermore, this article contributes a pilot study of the tattoo community’s views on AI-generated tattoos, which is currently lacking from the scholarly debate on AI-generated art. This article argues that the debate within the tattoo community about AI-generated art being used in tattoos needs to be addressed within the community through agreed extra-legal norms, which may well depart from how copyright law decides to approach AI-generated art globally. This article also asserts that AI should not be regarded as the “author” of tattoo works in the traditional copyright sense, as only a human tattooist can draw from a number of cultural, textual, audiovisual and visual, cultural folklore, history and mythical references in creating their tattoo designs, as well as drawing on the client’s personal stories. This article explores the following: (i) an understanding of tattooing as an artform; (ii) tattoos in UK copyright law; (iii) an exploration of the authorial role of the tattooist within tattooing; (iv) the authorial role of the tattooist within tattoo collecting; (v) AI-generated tattoos—perspectives from the tattoo community, through a pilot study of YouTube videos and viewer comments about this; and (vi) a consideration of whether copyright legal reform is the solution for the tattooing community.

The Written Text in Conceptual Art (An Analytical Study)

The tagged research problem (the outputs of the written text in conceptual art) dealt with a comparative analytical study in the concept of conceptual art trends (land art - body art - art - language). The study consisted of four chapters. The first chapter dealt with the theoretical framework, which was represented in presenting (the research problem), which raised the following question: What is the role of the written text in the transformations of the conceptual arts? The first chapter included (the importance of research) and (research objectives) seeking to conduct comparative research in the written text within the trends of conceptual art as a moving phenomenon in art, and to reveal the variable written text in the trends of conceptual art. As for the limits of the research, it focused on studying the concept of the written text in the works of conceptual art trends and their outputs, by analyzing their illustrated works from the period 2002-2013 in Europe and America. The chapter also included (defining terms) The second chapter: which is represented by the theoretical framework, contains two topics: The second chapter: which is represented by the theoretical framework, contains two topics: The first topic: an introduction to the concept of writing in the visual field. Conceptual art also dealt with the cognitive and artistic root. As for the second topic, it included: the written text in conceptual art The third chapter (procedural framework): is concerned with research procedures, defining the research community and selecting the research sample from it, the number of which is (5) models, from the directions of conceptual art, then the research tool and sample analysis.The fourth chapter: includes the results of the analysis of samples for each direction, then the results of the comparative analysis, conclusions, recommendations and proposals, and a list of sources and translation of the research summary in English.