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Description: | Exhibition Tattoo Salon By Ross Woodrow Since the 1990s there have been global attempts to incorporate the tattoo artist’s craft into the art world with exhibitions in major galleries and even the Venice Biennale. The Australia artist Ex de Medici has also managed to cross the popular culture and high art with representation in biennial surveys and the national and state collections. This exhibition titled “Tattoo Salon” takes a more critical perspective on the narrow vocabulary of images used in the majority of contemporary tattoo shops or parlours. Almost all the images displayed around the walls of the gallery in this exhibition were sourced from European drawing manuals and associated high art sources. These were then selectively reconfigured in framed “wall tattoos”. Foregrounding the graphic motifs, that were considered the foundational visual vocabulary of European picture making for the past century, as potential tattoo designs creates a perplexing engagement since hardly any of these match the most common or popular contemporary designs that seem to have little basic in cultural or lived experience. The exhibition impact implies that the contemporary notion of using the body as a “canvas” is perceptually, mechanically and culturally a highly problematic proposition or practiceExhibition Tattoo Salon By Ross Woodrow Since the 1990s there have been global attempts to incorporate the tattoo artist’s craft into the art world with exhibitions in major galleries and even the Venice Biennale. The Australia artist Ex de Medici has also managed to cross the popular culture and high art with representation in biennial surveys and the national and state collections. This exhibition titled “Tattoo Salon” takes a more critical perspective on the narrow vocabulary of images used in the majority of contemporary tattoo shops or parlours. Almost all the images displayed around the walls of the gallery in this exhibition were sourced from European drawing manuals and associated high art sources. These were then selectively reconfigured in framed “wall tattoos”. Foregrounding the graphic motifs, that were considered the foundational visual vocabulary of European picture making for the past century, as potential tattoo designs creates a perplexing engagement since hardly any of these match the most common or popular contemporary designs that seem to have little basic in cultural or lived experience. The exhibition impact implies that the contemporary notion of using the body as a “canvas” is perceptually, mechanically and culturally a highly problematic proposition or practice. | |
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