Amy

Amy notes the shift in collective memory with the
increased popularity of tattoo art. She recognizes
tattoos as a mark of conformity, rather than one of
social deviance or rebellion.

"I think that like anything that is associated with the
new burgeoning arts, tattooing has become an art form
itself, and like the rise of graffitti, has caught the eye of
a young, hungry artistic culture."

Dahna

" Moments like these never Last" Artist: Rob Coutts

Dahna notes the importance of the artist in respecting
the body as a canvas for beautiful work. The tattoo artist
responsible for her work has even signed her body in
recognition of this.

"Its stuff that through my life, I mean I'm only 23, but its things
I've gone through in the past 5 years, its moments in my life that
 have really affected me...things that I want on myself permanently.
That's my reminder of that point in my life, and maybe I'm not
going through that now, but when I look at that work I can never
forget it."

"Tramp Stamp": Fashioning femininity?

One of my first memories of tattoo art, 
was seeing my gymnastics coach's tattoo. 
It was located in the middle of her lower back.
In the years following this, there was an explosion
in the popularity of tattoos. The medium had
become popular with a new demographic: young
females. What would later become known as the
"tramp stamp" within the subculture, emerged as a
very popular means of cultural expression. It became 
the "acceptable" tattoo to get as a young woman.

The "tramp stamp" is a very interesting phenomenon
because it uses the medium of a once predominantly
"masculine" art form to perform/embody contemporary
understandings or suggestions of what it means to
be "feminine". All the while the 'male gaze' is steadily 
positioned on the woman's body, as John Berger writes,
"Men act, women appear. Men look at women, women
watch themsleves being looked at, and the surveyor of
woman in herself is male". So, somehow, an art form that
was once a way to break away from conventional,
naturalized beauty standards became a tool for further
prescribing and reinforcing beauty ideals.


 

Norman Rockwell: "Fashioning Masculinity"

Norman Rockwell (1894-1978) was a tremendously 
popular artist whose work has become recognized 
as a "cultural artifact of twentieth century America" (Segal 1).
Theorist Eric J Segal suggests that Rockwell's images 
have participated "in the formation of identity in the modern era, focussing on the fashioning of competing
versions of white, middle class, American masculinity" (1).

Rockwell's work is interesting to look at as a reflection of its
time. In his vast collection of work (most popular for his
covers on The Saturday Evening Post) I was surprised to
see the large number of tattoo related images. The majority
of them have described and prescribed the 'tattooee' as a
tough, rugged, white, male.

Case Study: Sal's Tattoo & Barber Shop

The Matter of Nostalgia

Ink-uisitive

Collecting personal histories is not as easy as one might imagine. My initial response to this process is that peoples memories are housed somewhere in their bodies and conjuring specifics can be like getting those old photo albums out of the dusty
attic. It is especially difficult because people are not required to
recall their histories very often. Sure, they help to shape that persons
identity, but how often do we cognitively consider our identities
in the everyday? Many people taking my questionnaire have 
commented that they feel like they are writing an exam...which
I guess is a good thing because they're taking it seriously. Also, 
I think it has been helpful in getting people to vocalize their feelings and reasonings behind their
body art, which doesn't happen very often, and allows for further
identity negotiaition. The questionnaire was important to me because it demanded immediate response... in the hopes that memories
contributed would be as 'true' as possible. Now that the questions have
been circulated in participants minds they will have time to 
construct their own 'truths' and interpretations of what their
art means to them. It will be interesting 
to see the difference between these immediate written responses and more constructed interview responses. 

Back to the Body: Tattoo Art as Identity and Cultural Memory

In one of his songs Jimmy Buffett sings "It's a permanent reminder of a temporary feeling," and indeed for me, that is what a tattoo is. It is a means of embodying memories or fleeting moments in a tangible, physical way. For over 5000 years tattoos have been used cross-culturally for numerous different reasons (National Geographic.com). Until the last two decades of the twentieth century in North American popular culture, academics recognized tattooing as a semiotic representation of pathology & deviancy (Kosut 76). Today, tattoo art is not only less taboo than it once was, but it has also outgrown its roots as a subversive subculture and become a prominent aspect of popular culture. When did this shift in cultural and collective memory come about? What socio-cultural changes occurred in the last two centuries that caused the transformation of a tattoo from being a mark of deviance, to a mark of normative expression?
The discourse surrounding tattoo art has certainly changed the cultural categorization of people with tattoos. Recently, tattooing has been designated as a meaningful way to modify the body and a valuable cultural form (Kosut 75). Through a series of interviews with individuals of various ages and backgrounds, my aim is to gain a better understanding of tattoo art and its current status in Toronto’s artistic landscape. I am hoping to get a sense of why this bodily practice has taken on such significance, because as Olick and Robbins point out “it is virtually impossible to discuss collective memory without highlighting historical developments in the material means of memory transmission” (113). For the purposes of this endeavor I will be qualifying tattoos as a “material means of memory transmission”. This is because I am acknowledging the individual body as a site of political transformation, as Tobin Siebers suggests the “personal is not necessarily political… but the political is always personal” (227). Through the recording of these personal accounts I hope to uncover changing perceptions of this art form over time and explore its place within the larger discourse of the body politic.
In a culture that is driven by consumerism and capitalism, it has become easy for us to abandon our bodies. We are living in a toxic environment, a place where the rich profit off of our deteriorating bodies. For example, the Chisso Corporation’s Chemical Factories in Minamata, Japan were only forced to stop dumping mercury compounds into the water after thousands of people had suffered brain damage, paralysis, and deformation (233). I propose that the discourse surrounding tattoo art has transformed because it is a means of reclaiming that lost connection to our bodies. It is a way for people, especially women who are expected to achieve a very specific standard of beauty, to shape their own physical identities and rebel against the prescribed beauty ideal. Throughout this process, I will explore the work of body artists such as Orlan and Stelarc, who will hopefully give me insight into this cultural movement back to our bodies. I will also be talking to a range of people, from professional tattoo artists and apprentices to people both with and without body art. I think that this will be an interesting endeavor as Siebers suggests, “change in the human body and mind is most significant when it forces us to face our inherent mutability and not when it presents human beings as bombastically perfect and unvarying” (220).