The Ring magazine has changed my way of thinking about tattoos, says artist Michael Breslin.
“I am not a fan of tattoos,” he says.
“It’s not something I have ever wanted or needed.”
In the last 10 years, the magazine has become a destination for artists looking for inspiration and inspiration-seeking advice, and has helped to redefine what it means to be an artist.
Its website, which also hosts monthly art shows, has become the hub for the tattoo community.
In addition to the magazines, Ring is now run by a creative team, and is the home of the magazine’s digital and digital-only magazines.
The magazine is part of a trend in which magazines and art galleries are merging, creating a space where artists can work in a space that feels more like home than on a convention floor.
In 2016, for example, a new digital magazine, The Big Picture, launched at the Art Basel exhibition in Miami.
And at the beginning of 2018, the online publication, The Tattooed, launched, offering the first in-person coverage of the tattoos that the magazine covers.
In the meantime, the magazines and the artists are taking on new roles.
“The tattoos that Ring is covering are in some ways not the same as what we’re covering, but they’re part of the evolution of what tattoos are,” says Breslen, who was recently asked to redesign the magazine to make it more visually appealing.
“They’re not the only tattoos, they’re not necessarily the most popular tattoos, but I think it’s still a very important thing that we’re trying to do in a very contemporary way.”
One of the most important changes in the tattoo industry is that, while magazines have long provided a place for artists to share ideas and opinions, now they also have a chance to offer advice and support.
“When I started working at Ring magazine, I was in the trenches and really trying to figure out how I could help the artists who were coming in,” says Michael Bregal, who has done tattoos for Ring for more than a decade.
“My job was to find out what they were going through, what their needs were, what they wanted, and what they needed to do to fix the tattoos.”
For Bregals, that meant providing advice to artists who had no experience or who were still in the “early stages” of their careers.
“There are a lot of people out there who are doing this thing and they’re just not sure what they want to do with their life,” he explains.
And that’s what the magazine is all about. “
As an artist, I really want to make sure that I am supporting them, that I’m supporting the artist and the idea that they’re trying for.”
And that’s what the magazine is all about.
It’s the best way to get inside the minds of tattoo artists and their clients, and it’s also the best place for them to get support and advice.
“A lot of artists I work with, they just don’t have the resources to support the tattoo artists, and I think that’s why it’s so important that we can get that in their hands, to support them and give them advice and ideas,” Bregall says.
The magazines’ focus on art, and the online presence that’s part of that, are both crucial.
In February 2018, for instance, Bregaly hosted a tattoo show in New York City called The Biggest Show on Earth, which featured a variety of artists and artists from all over the world, including some from the UK.
The show was held in the gallery space of the New York Public Library, which has a collection of more than 5,000 artworks from the United Kingdom and other parts of Europe.
While the show was designed for tattoo artists in New Jersey, a small number of artists were able to make the trip from the city to participate.
It was an amazing experience and an amazing showcase of artists from around the world and to learn from them, and to help them see how they can do their thing better, says Bregalin.
And the artists also shared their experiences, including with their peers.
“One of the artists came out and said, ‘I was actually working with a guy called Brian.
I was really worried about the quality of the tattoo on his body, and he had really good tattoos, and my concern was that his tattoo was not very good.
I think the tattoo could have been better.’
And I was like, ‘That’s the way it’s supposed to be,'” says Bremal.
And so I think this is really, really important, because it allows us to keep working on our art, to continue to make better art”
But the artists were super supportive and they had great feedback.
And so I think this is really, really important, because it allows us to keep working on our art, to continue to make better art