Results tagged “Barry Blitt”
UPDATE: The wonderful Helena Wissarionowna posted, in the Needles & Sins Facebook group, two other tattoo-related New Yorker Covers, which I added below.
Yesterday, I posted on Instagram and Facebook, the image above of the recent cover of The New Yorker magazine illustrated by Lorenzo Mattotti. It was a "Like" parade, but also inspired some serious critique, particularly the context of the illustration, rather than the artwork itself. Gawker Media's Lux Alptraum noted on her Facebook page that she found it a fetishization of tattooed women by a publication trying to be edgy. It's a good point, although I noted that more objectification and exploitation of tattooed women comes from our own industry media.
back story of the cover, Mattotti himself says: "Doing fashion illustrations is part of my work, but for me it's all about women [...] It's all about women--very pictorial women putting on dresses, putting on a show."
This wasn't the first time The New Yorker made tattoos a central theme of its cover. In the October 29, 2012 issue, the "Skin Deep" cover below by Barry Blitt offered an homage to the Norman Rockwell painting "The Tattoo Artist." In that New Yorker back story, Blitt says of his cover illustration: "'The Tattoo Artist' features a sailor with a long list of girlfriends' inked names crossed out on his arm," he said. "This seemed like a nice tableau for highlighting Mitt the politician's shifting positions and convictions."
So, is this an out-of-fashion publication trying to bank on tattoo cool, or just another example of mainstream media embracing the art form?
Share your thoughts on the Needles & Sins Facebook group page or hit me up on Twitter.
Cover above by Peter de Seve.
While it's not even out on newsstands yet, the "Skin Deep" cover by Barry Blitt for next week's The New Yorker magazine is getting tons of buzz. The image is a play on Norman Rockwell's classic painting, The Tattoo Artist (1944). The traditional sailor flash background is replaced with tongue-in-cheek critiques of Mitt Romney; for example, the pin-up is styled as a "Binder of Babes," and the classic schooner tattoo reads "Cayman or Bust." And of course, Blitt has fun by taking the crossed-out names of the sailor's old girlfriends and changing them to political positions. [If this was a Bill Clinton satire, I'm sure the girls' names would've stayed.]
For some history on the original painting, check the Tattoo Archive's page on Norman Rockwell, which offers insight into the work, including the following info:
Rockwell worked from various photographs while painting The Tattooist, which was used as The Post cover on the March 4, 1944 issue. In fact, Rockwell used photographs as an aid in doing most of his paintings. For The Tattooist, Rockwell borrowed a tattoo machine from the Bowery tattooist Al Neville. Tattoo shop signs seen here is from the Rockwell collection. Rockwell obviously consulted with Al Neville along with former sailors to insure accuracy in his painting of The Tattooist.The Selvedge Yard also has a great post on the painting, with photos like the one below.