POST 10 : TATTOOS & GANGS

Why do you think more and more people wear tattoos (regardless of whether they belong to gangs or not)?

People have been getting tattooed for thousands of years. In fact, historians have found ancient Egypt tattooed mummies. Nevertheless in western world the ones that got tattoed were pirates, convicted people and even soldiers (with the tipical tattoo 'Mother's love'). This was a symbol of social membership of this groups. Moreover, nazis used tattooes to class prisonners in the concentration camps.

Nowadays things have gone further. Pop art and pop music has made tattooes a symbol of distinction or a way of complaint. Singers, football players and celebrities were the first of being tattoed. Mass society and more precisely fans want to look like their leaders.

There are different reasons for which people get tattoed. One could be the importance of appearance, to make a difference or to become fashionable. And if we go deeper there are some people who think that the body is like a temple where your creativity and your personnality can be depicted. To sum up getting tatooed has turned nowadays in something trivial.

The football player David Beckham showing his tatoos

The singer Amy Winehouse a symbol for pop music showing his tattoos

Why do young people join gangs? 

All the gangs are not the same. Their rituals, people they target change from gang to gang. Whereas the reasons of joining gangs are often the same. To joing a gang or a group means that you are not social isolated because to be part of that group means in some way to exist so you are accepted and you become 'cool' sometimes related to peer pressure. Usually, people who joing gangs have lived in a difficult environment with domestic violence in their homes so they have a desire of being protected. This idea is related to a need of food or money and maybe a lack of parent supervision.

Latino gang member proud of his tattoos. That is to say that usually
gang bangers wear tatoos

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What link can you see between both topics and the notion of power?

First of all we have seen that being tattoed has turned trivial in western society, because more and more people get tattoed. Whereas, it continues to be a symbol of a social membership and also it is something that makes you different from the rest. On the second part we have seen that young people joing gangs because of their difficulties on their homes, it is a desire of being protected but also it can be related to the idea of becoming cool.
All in all, on both topics we see an illustration of the notion of power very close. First of all we have the idea of identity, of being accepted on both cases. Getting tattoed means to record your identity through different forms of self-expression and within gaing a distinction of the mass society but being accepted in some cultural environments. Similarly, in the case of joining a gang there is always this idea of being part of a group, being accepted.
Moreover, the notion of progress can also be seen in this topics as the idea of being superior to the rest, being different or have more social influence in people because of tattoes or gangs.

Video tattoo covered makeup: 

The man with more tattoos in the world 

The Draw of 'Dead Town'

 1. Gabriel Hinojos is a young man who got out of a street gang 'F13' that stands for 'Florencia 13' in Los Angeles. He is the typical example of a young trying to leave a gang. He went to a tattoo removal center called Ya stuvo the spanish translation for 'that's enough, I'm done with that' (l.2) to get his gang tattoo removed from just bellow the eye. It was the only way for him to stop being part of the gang.

2. As we see in the text Ya Stuvo means '' that's enough, I'm done with that'' (l.2). It is a tattoo removal center in Los Angeles. From time to time surgeons would kindly offer their skills to erase gang members' tattoos with laser. Gabriel Hinojos has gone there 45 times and as the journalist says his reaction was ''He grimaced in pain as the surgeon extracted the ink from the soft skin under his eye'' (l.8).

3. In the context of the article 'Black teardrops' is this symbolic tattoo below the eye that some gang members often have to show that they have been in prison or have killed someone. The more teardrops you have, the more respect you would earn from the gang members. The teardrops could also mean that the gang members don't cry because they are tough men.

4. This short sentence means that Gabriel Hinojos is feeling repented about what he did by joining this gang. It also means that he has a lot of tattoo teardrops because he has been convincted to prison so many times. Gabriel was obviously the meanest of the Florencia 13 gang.

5. The article shows that getting out of a gang is very difficult. Gabriel Hinojos compares this situation to getting a tattoo removed: " slow, painful, scarring" (l.18).

6. Getting out of a gang it is not always possible, as we see in line 18 "In street lore, a gang banger can never leave a really brutal gang like Mara Salvatrucha 13."

7. Nevertheless, getting out of the F13 gang is not easy but it is possible if you have killed the right amount of people and if you have managed to earn drug money for the gang. The article illustrates this fact on line 22: "In practice a gang member like Gabriel can get out of a tough (...) if he has served time in prinson and 'done the work'- shown that he can sling drugs and wield a gun" 

8. On lines 22- 23 Gabriel explains  that escaping of a gang life is extremely difficult. The fact is that when you enter in a gang you leave it the most part of the time when you die or you leave it if you have done the right things like been in prison or sling drugs. It is quite clear that if you stay in a gang for years, knowing all the secrets, you can't leave it easy. Moreover, after having this kind of life, you going to have some problems to adapt yourself to society normal life.

9. At the end of the article we see that Gabriel represents a symbol for all these youngsters that lived the difficulties of a gang life and that cannot leave it because they are afraid. However by reading the last three lines we understood that months later after celebrating his archivement being on the White House with Laura Bush, Gabriel was back in jail. This passage illustrate the idea that leaving a gang is extremely difficult and not always possible.

10. The picture represents the moment when Gabriel Hinojos went to the tattoo removal center Ya Stuvo for extracted the ink from his skin with laser. He is wearing sun glasses but his face expression shows that the surgery is, as he said "slow, painful and scarring" (l.18). This potograph is very significative with the meaning of the article because the expression of Gabriel Hinojos shows to us that he is tough and brave

POST 9: The Draw of 'Dead Town' - A Newsweek article (February 16, 2009) + GANGLAND Video

Go there for a full version of the Newsweek article given out in class.

POST 7: 'Pop Art Myths' and the 'MYTHS & HEROES' Notion

First of all, to illustrate the notion of Myths and Heroes, it is important to comprehend the ideas of ‘myth’ and ‘hero’. On the one hand, a myth can be defined as a popular belief or story that has become associated with a person, institution, or occurrence, especially one considered to illustrate a cultural ideal. On the other hand, a hero is a man of distinguished courage or ability, admired for his brave deeds and noble qualities.

This notion can be linked to the Pop Art movement, which emerged in the late 50's and early 60's. It is one of the most liberating moments in the history of art. Breaking the rules of classic art, endorses the new culture of technology and consumerism by representing every manner of objects from visual and popular culture. Every object can become art, that is why this movement brings and end to the division between 'high' and 'low' culture. It includes different styles of painting and sculpture from various countries.

And now the question is… What is the relationship between these two concepts?

To answer this question, I have chosen a painting entitled ‘Las Meninas’  by the artists ‘Equipo Crónica’ in 1970. It is an acrylic on canvas that measures 200x200 cm and we can find it today in the museum ‘Fundación Juan March’ in Palma de Mallorca.

‘Equipo Crónica’ is a valencian duo composed by Rafael Solbes and Manuel Valdés. Their paintings interpret, analyse and de-codify Velázquez’s work. Also, it belongs to the topic ‘Art about art’ where Pop art artists wonder about the evolution of art.

These are the reasons that describe why Las Meninas of Equipo Crónica are connecting to the notion ‘Myths and Heroes’…

First of all, the painting in which Equipo Crónica are inspired from Las Meninas (Spanish for the Maids of Honor) by  Diego Velazquez on 1656.

The Spanish painter Velázquez (1599-1660) became renowned for his realistic portraits as a member of King Philip IV’s court. Velazquez’s technique of painting was inspired by Baroque. Baroque is the period and the style that used exaggerated motion in order to produce drama and tension in sculpture, painting, literature, dance, and music. The painting is a portrait of Infanta Margarita, the daughter of King Philip IV, and his second wife Mariana of Austria.

To sum up, the painting's complex and enigmatic composition is an excellent example of how great works of art are made. That’s why we can argue that Velazquez because of his distinguished and personal techniques, is a kind of hero or a myth of painting, that made a unique and unrepeatable work.

An important aspect of Velazquez's work is the Droste effect. That are repeated by Equipo Crónica. The Droste effect (known as mise en abîme in French) is the reflect of a picture appearing within itself, in a place where a similar picture would realistically be expected to appear.

Las Meninas allows the spectator to freely interact with the painting’s various points of view and therefore offers an example of the Droste effect.

Firstly, on the left we see a self portrait of Velazquez painting. On the center of the painting, Infanta Margarita has dropped in to see Velazquez at work. She stops right next to him, at the center of the foreground of the painting, but she seems perplexed. Finally we see a portrait of the royal family reflected in a mirror on the background.

All things considered, we can say that this innovative technique of the Droste effect made by Velazquez it is a well known fact that confirmed the idea of Velázquez as a mythical painter.

Moreover, Las Meninas from Equipo Crónica is a representation of a mythical painting that reuses the droste effect by representing the same characters from Velazquez’s painting and adding some details that give a modern view to the painting. In this way we can see the self portrait on the background of the valencian artists with appearing as like a ball and a float... Definitely, we can link the painting to the Myths and Heroes notion because it is a representation of a mythical painting with very accurate techniques. However, we can also relate the painting with the other notion ‘the idea of progress’ because of the alteration of the traditional home with the appearance of new technologies  like the TV set, lamps...

As a conclusion, I would say that Equipo Crónica reuses Velazquez’s techniques and characters from his painting Las Meninas. Yet, it seems to me that what they really do is to represent a photo of an ordinary modern family at home. They are seeing just before  going to the beach.

Personally, I like the painting and I think it is innovative and humorous to give this new look to a mythical  painting like the Velazquez’s one. Nevertheless, to put it differently I think this painting is transgressive because instead of localising the painting in the king’s home, Equipo Crónica depicted the family in the living room and instead of representing the shelves with books they choose to put there the TV set. So, it is maybe a denunciation of the culture in today’s society or a denunciation about how the royal family represents. They are supposed to be learned, educated that is why they guide the country but, they are just a family like whatever family at home. That’s why I am convinced that this painting would not  appeal to everyone.

Besides, Las Meninas  is a mythical painting from Spanish culture and more specifically from baroques techniques that’s why a lot of artists homage the painting with their versions of it.

 

Picasso’s recreation of Las Meninas (1957)

Picasso made a cubism version from the original painting of Velázquez.

Dali’s recreation of Las Meninas 1975

Dali made a surrealistic version and what is interesting from his painting is the exchanging of the characters for numbers.

Mingote’s version for Las Meninas made on 2003

Mingote was an spanish cartoonist that drew daily cartoons on the newspapers. This humoristic representation embodied his style without leaving the original Velazquez painting, though one of the main characters, the infant is flying over the retinue  

POP ART MYTHS

      Pop Art is an art movement that emerged in the late 50's and early 60's. It is one of the most liberating moments in the history of art. Breaking the rules of classic art endorses the new culture of technology and consumerism by representing every manner of objects from visual and popular culture. Every object can become art, that is why this movement brings and end to the division between 'high' and 'low' culture. It includes different styles of painting and sculpture from various countries. This post recaps the various themes of this movement.

Collage Advertising Comics

Pop art acquires the tradition of the collage from cubism and dadaism but it adds a subversive and allegorical component. This new tendency, turned comic strips into large-format paintings. 

The precursors of this art were Richard Hamilton and Eduardo Paolozzi, members of the independent Group in London, along with works by the American Ray Johnson. In addition to this, Roy Lichtestein pop first painting is an embodiment of Pop Art definition that conceals a paradox between classic art and modern art. It certainly appears to be an enlarged panel from a comic book, but it is also a Pop version of the myth of Narcissus.

Finally, Andy Warhol was also a member of this new way of painting with his Mickey Mouse propagandistic representation.

Roy Lichtestein, Look Mickey, 1961

Quadrant Mickey Mouse/Myths, 1981

Richard Hamilton, Together let us explore the stars 1962

Eduardo Paolozzi, One Man Track Team 1953

Emblems

It is a well known fact that in the mid-20th, advertising slogans, the brand names and logos for consumer products had inundated society and were publicized non stop in the press, radio and television... Predictably, they provided a torrent of visual ideas for Pop artists.
For instance, Jasper Johns, appropiated several universally recognize objects such as a bullseye target , as did Peter Blake some time afterwards. Warhol began to represent certain everyday objects repeatdly including logos and trademarks like ‘Green Stamp’ loyalty coupons, Cambell’s soup cans, Brillo soup pads, Heiz ketchup and Coca-Cola. Robert Indiana turned a series of different words like ‘eat’, ‘hug’ and ‘err’ into emblems which he stenciled onto various supports.

Jasper Johns, Target with Four Faces,1955

Andy Warhol, Coca Cola 210 bottles 1962

Andy Warhol, Heinz Tomato Ketchup box, 1964

Robert Indiana, love 1966

Myths

During this golden era, the film industry also grew strongly. Hollywood became a myth-making machine: Marilyn Monroe, Elizabeth Taylor, Marlon Brando, James Dean… Those  actors who archieved success in the Dream factory immediatly became idols for the general public and many of them are featured in the work of Pop art artists. 
Alex Katz was one of the first that portrayed famous people. Warhol immortalized Marilyn Monroe transforming her into object of veneration. Moreover, Mimmo Rotella transfigured Elizabeth Taylor, in her role as the queen of Nile in a majestic décollage of the poster of the film Cleopatra. In short, British Pop artists were able to combine the media power of the great American idols with specific elements from their own popular culture.

Andy Warhol Marylin Monroe 3x3, 1967

Alex Katz, Ted Berrigan 1967

Mimmo Rotella, 'Cleopatra Liz,' 1963

Portraits

Pop Art brought an reinterpretation of genre of portrait painting. Though basing their works on preexisting images, Pop art artists were able to surpass the limits of the original, oppening the door to poostmodernism.

Andy Warhol, Self-portrait 1986

Allen Jones, Self portrait 1981

Warhol marks the turning point at which the model of the portrait fades away and becomes a virtual image. In his series of self-portraits, the artist also meditates on death. Allen Jones, for his part, explores deeply the portait through the sitter .

Finally, David Hockney makes use of immediacy of Polaroids as the basis for his portraits.

David Hockney, Kasmin 1982

Landscapes, Interiors, Still Lifes

Tom Wesselmann, Still life, 1963

With the development of the Consumer Society, objects appear and become communicative codes bearing arbitrary meanings. Related to this, Pop Art, reinterpreted traditional genres of painting: landscapes, interiors and still lifes. What in the traditional still life was a private domestic space, in Pop Art becomes a public, commercial space.

Lichteinstein’s landscapes based on Expressionism, Patrick Cauldfield’s and Valeiro Adami’s interiors are some of the examples of this reinterpretation of art.

Roy Lichteinstein, Sunrise,1965

Patrick Cauldfield, Picnic set 1978

Urban Eroticism

The middle years of the 20th century brought a transformation of social attitudes with it a new sexual freedom encouraged the spread of eroticism in every sphere of society. As a result, mass media became inundated with erotic metaphors featuring seductive women and attractive men. This immediately, influenced Pop Art representations.

The voluptous women of Richard Lindner and Allen Jones have the quality of erotic fetishes. James Rosenquist marked by almost photographic realism, women and automobiles alike are transformed into objects of desire. Wesselmann represented allegories of women as sexual symbol.

Tom Wesselman,Monica sitting one leg on the other 1986

Richard  Lidnet,Tank you 1971

Robert Rauchenberg, Retroactive II, 1963

History Painting

An essential part of Pop art iconography were the Historical events and contemporany affairs. Historical paintings of Pop Art artists were inspired by the huge amount of news and images coming from the mass media.
Major historical figures like Mao Zedon, John F.Kennedy, Richard Nixon, Franco... are the protagonists of paintings that reflect this existential mass of news bringing the point of view of Warhol,Rotella,Richter, Juan Genovés...

Eduardo Arroyo, The four dictators (Los cuatro dictadores)1937

Art about Art

Pop art artists wonder about the evolution of art that is why an essential part of Pop art led to the subject of 'art on art'.
For instance Warhol creates new versions of Boticelli using photographs, Hockney ruminates on Rennaissance art, Alain Jacquet parodies Manet paintings... 

Alain Jacquet, déjeuner sur l'herbe 1963

Manet, déjeuner sur l'herbe 1863