I’ll start with the cutest tattoo. Seunghoon has the W from Winner’s logo with a circle to represent the Inner Circle
He also has a hand (?) in his hips
“deuteronomy 28:1” in his chest
It’s a verse from bible who says “If you fully obey the LORD your God and carefully follow all his commands I give you today, the LORD your God will set you high above all the nations on earth.”
“Be Nice” and “Be kind” in his shoulders.
Taehyun is a big fan of Jean-Michel Basquiat, an african american neo-expressionist artist.
He has his name on his left arm.
“Stay Gold” and the banana who was inspired in one of Basquiat works.
In his words: “I want to do everything with that mindset. ‘Stay Gold’ is that kind of word. it means the Golden Age. at the end on WIN, we received the title of Winner. since then, I’m spending my days very well. I think that’s what youth is. it’s the Golden Age that you can get only once in your whole life. I didn’t thought much about it and just followed my heart and got it tattooed on my wrist. I’m really happy that I could experience all these moments up until now.“
A bat on his right arm. Also inspired by Basquiat’s drawings.
My favorite, "I don’t do drugs, I am drugs”
seems like it was made by Christophe Louis Quibe, a french illustrator. (i’m not sure)
The roman numeral tattoo of Taehyun is from Jean-Michel Basquiat’s “Profit I” painting.
“baby baby” in a fancy font in his right arm.
“South Buyers Club” inspired in “dallas buyers club”, the movie who gave an oscar to Jared Leto.
Jean-Michel Basquiat (December 22, 1960 – August 12, 1988) was an American artist. He began as an obscure graffiti artist in New York City in the late 1970s and evolved into an acclaimed Neo-expressionist and Primitivist painter by the 1980s.
“‘Fast Forward’ reveals a complex subject crying out for attention by outlining how the Neo-Expressionists and their ’80s cohort broke painting wide open. Their legacy is a sense of freedom and possibility that infuses the medium to this day.” —Roberta Smith on our new exhibition focusing on 1980s painting form the collection. Read more in The New York Times.
[Left, Kathe Burkhart’s painting “Prick: From the Liz Taylor Series (Suddenly Last Summer),” from 1987, reprises a movie scene with Elizabeth Taylor and Montgomery Clift. Right, “Baron Sinister” from 1986, by Walter Robinson. Photogaph by Jake Naughton for The New York Times]
Mann im Mond - Franz Pforr // Man in the Moon - Franz Pforr 
////georgB A S E L I T Z
German painter, printmaker, and sculptor who is considered to be a pioneering Neo-Expressionist. His trademark work was painted and displayed upside down to emphasize its surface rather than its subject matter.
I hardly need to introduce Jean-Michel Basquiat. His image has been so sanitized and commercialized, however, that many people identify him as this solitary icon of tortured creativity and 1980s “downtown cool,” rather than an intensely ambitious, earnest, critical man engaged with the world around him and the politics and artmaking of his time. A telling outgrowth of this is that the main artists he’s usually associated with in the popular imagination—Andy Warhol, Keith Haring, the Neo-Expressionists—are white. But Basquiat was extremely critical of the systemic racism and violence that surrounded him in Reagan’s America, and he used his art to lodge critiques and express his own ambivalence as a black artist succeeding in a white-dominated, money-hungry art world. I think about his Famous Negro Athletes series pretty frequently; in a way, the same thing has happened to him that happens to America’s favorite black athletes, from Serena Williams and Lebron James to the latest rash of Olympians capturing the media’s attention: Simone Biles, Simone Manuel, Usain Bolt, and countless others. White America is so desperately unable to talk about race that we sanitize black athletes of their racial identities, the systemic inequalities they have overcome, the real symbolism of their successes, in an effort to promote a faux national unity that can stand in for racial equity (“sports are the great equalizer”…“all athletes matter”). In this absolutely incredible, darkly hilarious drawing, Basquiat’s athletes are reduced to mere masks or unidentifiable stereotypes—a perfect visualization of our culture that will readily co-opt the successes of its marginalized people, as long as they don’t talk about their marginalization.
“The ’80s artists were initially called Neo-Expressionist, an insufficient term, given their stylistic diversity, but one that signaled their accessibility and flair. They drew from art history, the news, graffiti and pop culture. Their work embraced different forms of narrative, often with psychological or erotic overtones, and new kinds of self-awareness and worldliness. Even those who painted abstractly had it, in the form of humor or outside references…In a sense, the painting that emerged in the early ’80s was mongrel and illegitimate. In logical art-historical terms, it wasn’t supposed to happen.” — Painting From the 1980s, When Brash Met Flash. See also, The Whitney Revisits the ’80s, a Decade of Macho and Money