12127 1 12127 Professor Overman English 155 November 2, 2006 Tattoo Memorial A Memorial is something that is intended to honor an event, person, or memory. Traditionally these types of representations reside in vast monumental structures or traditional gravesites. There are many different interpretations when it comes to memorializing something, but when creating a monument the basis should still form around three essential ideals. No matter how simplistic or unconventional, there needs to be a mission, vision, and purpose. Contrary to peoples beliefs, not all memorials have to be carved in stone or made of granite. In fact, now a days there are probably more nontraditional memorials than there are traditional, but unfortunately they are poorly recognized in comparison. For instance, documentaries, war movies, novels, poetry, and art are all examples of non-traditional memorials. So therefore, what makes the art of tattooing any different? Would it be accurate to suggest that tattoo s are also an effective example of memorialization? The art of tattooing has dated back thousands of years, where even then they were used for symbolic expression. Human history has shown that tattoos have been present in various cultures as rites of passage, spiritual devotion, protection, and reverence. Tattoo s are usually deeply significant to the person bearing it, and because of its permanence, a lot of thought goes into the selection. Most often tattoos are used to mark a certain time in that person s life, or perhaps a tragic event. After the events of 9-11,
12127 2 tattoos were in fact being used to memorialize lost friends and loved ones. In an article written by Dana Johnston, she quotes Mary Cole, The tattoos were something they could do to get over that helpless feeling, an action that could help them feel in control. Mary Cole is the supervisor of Staten Islands counseling service unit, where she has helped many NYC fire department survivors cope with the trauma of 9-11 (Johnston). Cole also said, They are a way of keeping the loved one as close as possible how much closer can you get than right on your own body? This method of memorializing has been used for many years, but is rarely recognized as a memorial in itself. Coincidently, because of the increased popularity of tattooing, there are more frivolous tattoos than there are meaningful. Enid Schildkrout points out rightly in his article that, During the millennium, tattoos became a fashion statement. It s unfortunate but the fact is in recent years tattooing has become very commercial. With the rise in popular demand most people believe this type of art has shifted from symbolic use into just being a skin accessory. Many feel that the fad of tattooing has replaced the significance behind them. But, even though tattooing s popularity has risen there is no reason the significance should be lessened in value. There is a difference between an impulsive tattoo and a planned one, as Cole says, The whole procedure of becoming tattooed, from the ritual of finding the right artist, and designing an image that felt just right to the individual, to the actual process of having the tattoo applied, had a therapeutic value to many people that I ve seen. Obviously there is a distinct difference between someone getting a star on their ankle, and an individual getting a design commemorating those lost in 9-11. Those receiving tattoos as a way to grieve or to honor
12127 3 a loved one will gain so much more than the trendy tattoo recipient. Needless to say, the person s emotional motivation is what makes the tattoo, not the tattoo itself. There are different levels of acceptance when it comes to creating monuments due to the fact that they re supposed to be for the public. Once the word for the public is introduced, controversy immediately follows. An example of this can be found in an article written by Jennifer Wingate regarding concerns for World War I memorials. Apparently a man by the name of Charles Moore, chairman of the National Commission of Fine Arts, was distraught over the use of soldier sculptures. Moore mentioned that the doughboy of World War I was a grotesque figure, because of its clumsy helmet, sagging belt and burdens of equipment (Moore). He was not alone of course. Wingate says municipal art societies formed advisory committees and distributed guidelines with the hope of mitigating the plague of war memorials afflicting the nation. I would have never known the magnitude a few statues would have on numerous art societies and organizations, but that s what happens when developing a monument. There will always be certain groups opposing the idea, suggesting that it is anti-american, or disrespectful in some way. After presenting a new and different idea, over dramatization is to be expected. Who would of thought representing a soldier could be so complicated? Obviously if a few statues are being discredited by looking clumsy and grotesque, imagine the debate people would have over a tattoo memorial. Tattoo artistry takes a giant step away from traditional monuments, and would definitely not be accepted among the conservative population. Comparing a building or statue to a design on a person s skin is close to impossible, because the meaning of the tattoo is not public unlike most monuments. Tattooing, as a monument would be personal, it would truly
12127 4 only be for the owner. Tattoo s may not meet the criteria for a monument, or maybe it does, its all up to interpretation. Although most of the population may not be aware of tattooing as a memorial, this art form still manages to share characteristics of traditional monuments. According to Larry Roberts, a conceptual writer on design of memorials and monuments, there are common characteristics memorials can be defined by. First, they are located in beautiful and pleasant settings. Obviously, this would include gardens and perhaps beautiful beaches, but what about the human body? Is that too not beautiful? Although our society is prone to negative body-images, the essence of the human body is in fact beautiful. Therefore the art of tattooing should be viewed as merely a beautiful addition to the body. A second characteristic Roberts explains is that, They are large monuments that are out of scale with the environment. If one were to think abstractly, tattoos are in fact out of scale with the environment. No one is born with a tattoo, they must choose to put one on their body. This is therefore breaking the normal environment of the body. Roberts continues to say, they feature inscribed words for visitors to read. Most tattoos that are memorializing someone or something usually do include some type of writing, whether it s a date, a name, or a slogan. Also, if the tattoo is placed in an area visible for others, then it is fulfilling yet another characteristic. All of these features help set a tone or attitude of the memorial, just as every tattoo project s certain tones and attitudes. The difference is, unlike memorials created by the government, they have their own attitude with no influence of outside forces. Public monuments are planned to accommodate everyone as politically correct as possible. Yet, what if the emotions you bare are far
12127 5 beyond politically correc?. There is a way to memorialize that pain and to have power over it. Tattooing as a memorial allows the person to be in charge and have full control over how they want to feel, and how they think something should be represented. Although there are traditional characteristics and customary styles expected to be seen in a memorial; who really wants to conform to the ordinary? My memorial representation would be much like the exhibit found in Richmond Town, Staten Island, titled, Indelible Memories: September 11 th Memorial Tattoos located at the Historic Museum at Historic Richmond Town. This exhibit has more than 100 emotionally charged photographs of people, with a primary focus on their tattooed art. In this particular display the tattoos are solely to honor those that were affected by the events of 9/11. I feel that this type of portrayal is a creative and diverse way to honor those lost in such a tragedy. The prior exhibit inspires my memorial design, and it too would be a photographic gallery of memorialized tattoos. However, my memorial would not signify one specific theme or one particular event. In fact the message of my memorial is to not be exclusive. There is certain uniqueness in memorial tattooing that should not be limited by one specific premise. In order to truly symbolize the creativity of this memorial, the structure of the building would have to be molded into something impressively non-traditional. The architectural design would be constructed in the shape of an anatomical human body, approximately 300 ft by 200 ft (as seen on page 8). The entrance would be located at the skull of the structure, with multiple exits on all sides of the building. The inside arrangement of the memorial should be simple, so that an
12127 6 elaborate atmosphere doesn t over shadow the details of each tattooed piece. The lighting in the gallery would be dim as a sign of reverence, but there would still be subtle lights to illuminate each photograph. Underneath each photo would be a short description that includes the name of the tattoo recipient, their occupation, their explanation of the tattoo, and the meaning behind it. In order to help alleviate confusion, the photographs would be separated into categories according to where the tattoo is located on that persons body. For example, if there were a photograph where the tattoo was located on the recipient s leg, it would then be placed in the leg portion of the building. If the tattoo were located on an arm, torso, or face, then they too would be placed in those separate parts of the building. To further assist in any confusion, a explanation of this arrangement would be located at the entrance, as with a detailed map. The purpose of this memorial is to honor the art of tattooing and show how tattoos have helped others overcome tragedies in their lives. Whether the premise is traditional or not, the fact is people are continuing to create tattoo memorials all on their own. Every person uses different methods when it comes to healing, and for some it may be visiting a conventional monument. For others however, it may mean to experience pain in order to create something personal and much more meaningful. Either way, both methods should be respected and disserving of a memorial. The creation of my monument was not made to be politically correct, but to show that there is beauty in morning non-traditionally. Whether it is accepted or hated, there is still a clear mission, vision, and purpose of the memorial. But just like everything else in the world, it is better to not have expectations, but instead leave it up to interpretation.
12127 7 Works Cited Hudson, Karen. Tattoos: Significance vs. Vanity. (2006). 22 October 2006. <http://tattoo.about.com/b/a/078277.htm> Irwin, Katherine. Legitimating the First Tattoo: Moral Passage through Informal Interaction. Symbolic Interaction 24. (2001). 22 October 2006 Academic Search Elite. Johnston, Dana. New York City s living history village and museum complex. (2002). 22 October 2006. <www.peprallyusa.com/siny.html> Roberts, Larry. Design: Memorials and Monuments. Tech Directions 63.5 (Dec 2003): 16-17. 22 October 2006 Academic Search Elite (Ebscohost). Wingate, Jennifer. Over the Top: The Doughboy in World War: Memorials and Visual Culture. American Art 19. (Summer 2005). 22 October 2006 Academic Search Elite (EbscoHost).