The new edition of Bodies of Subversion: A Secret History of Women and Tattoo (Powerhouse Books, fall 2012) will follow nicely on the heels of the latest Harris Poll revealing that tattooed women (23%) now outnumber men (19%) in the U.S. Trends I’ve been tracking: a depressing dearth of black women artists; a large contingent of standout lesbian artists, a high number of young women who’ve had no trouble breaking into this male-dominated profession (by comparison to the battle-weary pioneers of my 1997 edition), a surge of tattooed ladies in literature since the ‘90s, and a continuing indifference, by the gallery world, to the post-millennial explosion of new tattoo techniques, genres, and talent (male and female).
The British artist Roxx of 2 Spirit Tattoo (in San Francisco) is not only one of my favorite new tattooists in the book, but also one of the most thoughtful about design, aesthetics and placement. “I don’t think [tattooing] needs to be so pictorial and illustrative,” she says. “I really think that if people want to get pictures they should just get them on tee shirts and paintings. Using the body as a blank piece of canvas–as wallpaper–seems to cheapen the art and the body.”
In which I discuss mad Methodists, monomaniacal Mormons, and tattooed Mohave Indians on the expressway to Manifest Destiny (and my research for The Blue Tattoo). Violent Encounters (U. of Oklahoma Press) includes interviews with nine authors about major massacres like Sand Creek and Mountain Meadows along with lesser known incidents like the 1871 Camp Grant massacre in Arizona, in which Anglo-Americans teamed up with Mexican Americans and Tohono O’odham Indians to slaughter over a hundred Pinal and Aravaipa Apaches—mostly women and children.
From the introduction by the authors: “Violent Encounters allows the reader to reconceive what it means to conceptualize a historical event, the ways in which history is used to as a political tool, and the need for the incorporation of multiple viewpoints when reconstructing past events.”