Tattooing is an Art Form - Essay Example

Tattooing is an Art Form Name: Student ID: Institution: Course: Table of Contents i.Introduction 1 1.0.Tattooing has a Long History as Art 2 2.0.Tattooing meets the art Qualifications 3 3.0.Tattooing is a Colourful Images from Paint 4 4.0.Tattooing is not an Art for Future Generation 5 5.0.Missing Link from Buchihi Arguments 6 6.0.Conclusion 7 Tattooing is an Art Form i. Introduction Tattooing remains to be one of the greatest human artistic expressions with the longest history. Background information provides that tattooing is a story for global cultural exchange that was started as an art. While scholars have attempted to argue that the term came from ‘tatau’ (denoting ‘art’ in Samoan and Tahitian), the history of tattoo as an art stretches beyond these views. Perhaps conceptualizing periods when the islands of the Pacific that European sailors met the body art. Research studies that have attempted to interview tattooed people have indicated that decisions for tattooing were because it is a fascinating art (Timming 2015). On the other hand, the socio-genesis researches that have surveyed the aspect of tattoo with regard to art and cult found that the practice did not only originate as art but were considered as artistic expressions done through body markings (Atkinson 2003). The historical perspectives of tattooists have provided different approach in which studies have conceptualized the aspect of tattoo. Research surveys on background information of tattoo have realized that tattooists considered their works as an art for museum treasures---an art intended to make humankind in touch with the universe’s creative impulse. On the other hand, there have been arguments that some tattooing elements are not fit enough to be associated with art. These arguments have often associated tattoo with cult. While the arguments on the artistic nature of tattoo remains multifaceted, this study critically assess the extent to which tattoo is indeed an art. Premised on the thesis statement or contention that indeed tattooing is an art, the essay will review contemporary studies that have argued for and against the contention. 1.0. Tattooing has a Long History as Art Just like any other art, tattooing has a long history for many centuries, which has delivered different meaning in each country. Researching on “The Sociogenesis of a Body Art” Atkinson (2003), the scholar interviewed tattooed individuals and tattooists and his conclusion on the data collected likened the history of tattoo to any other form of art. His case study is centralized on elements such as cosmetic surgery and body piercing. For as long as body piercing and cosmetic surgeries share the same history as tattooing, there is paucity of comprehensive research that have contested the artistic nature of tattoo. The point of argument Atkinson (2003) attempts to develop is that body piercing is already considered an art not because of its uniqueness or resemblance with other forms of art but because it shares the same sociological origin with other forms of art. Additionally, just like cosmetic surgery and body piercing, Atkinson (2003) finds through evidence based literatures that tattooing is an art made to represent one’s personality and social backgrounds. Conversely, there is an indication, from tattooed individuals and tattooist that for many decades, tattooing has delivered different meaning as an art. These meanings have been conceptualized differently depending on social set up of each country. The empirical findings by Atkinson (2003) have also been supported by Baumann, Timming and Gollan (2016) who have shown that the long history of tattoo qualifies it as an art. According to results from their surveys and interviews, every country has unique expressions of tattoos as artistic symbols that represents or resonates well with a given cultural belief. The scholars observed that historically, American had considered tattoo as ‘undesirable’ class, what was once linked with biker or criminal milieu slowly transformed, over decades, to be regarded as one of the artistic expressions used to communicate personal style. Indeed, the history stretches to the period when artists who travelled on the voyages sketched different designs on their bodies that were later found on the island; this was perhaps the origin of the creative artwork. 2.0. Tattooing meets the art Qualifications There have been contestations on whether tattoo meets minimum threshold required of art. Scholars such as Marchesi et al. (2014) have indicated that tattoos do not express what an art is intended for. The point of such arguments is that for an art to qualify as an art it should be regarded as an important part of life that is inextricably linked to the core of people’s culture. However, evidences to support such arguments have remained implausible. Jones (2015) took a case study to analyse the aspect of “Ink-incredible” with an aim of conceptualizing the extent to which tattooing meets the minimum qualification for being an art. Basing his thesis statement on ‘Do Tattoos count as Art’, Jones (2015) takes the history of tattoo 30,000 years ago where he provides evidence through a skeleton from Wales to indicate that historically, tattoos were done with an artistic approach contrary to what Marchesi et al. (2014) have suggested. The skeleton was stained with red ochre; implications that just like any other art, the stain on the skeletons were made to represent artistic culture. In most cases, what has separated an art from other expressions or undertaking is that an art should be human expression through hand, mouth or performance to represent cultural identities or socio-economic backgrounds of a given community or geographical region. For instance, the epitome of a given culture and its connectedness with tattoo is the Salmon culture and how they use tattoo to represent those cultures. By conceptualization of the importance of tattooing in Samoan culture, one invariable gleans a closer understanding of the historical development of tattoo as intimate art, which has developed to be part of Samoan culture. The challenge is that people from different cultural settings have not come to realize that practice of tattooing is an art and it has been an essential part of life that has inextricably connected to the core of culture. This lack of awareness however, should not be allowed to develop the thesis that tattoo does not meet art qualifications. 3.0. Tattooing is a Colourful Images from Paint If painting and other artistic drawings that use colourful paints are already regarded as art then tattooing has had long history on the same. Tattooing involves the use of ink and paint to create colourful images just like preparing portraits which is similar with body art. Different approaches have been suggested to support this view. For instance, Sanders and Vail (2008) reviewed the underpinnings of social definitions of art with regard to tattooing. Based on the thesis statement, “Customising the body the art and culture of tattooing” Sanders and Vail (2008) suggest that tattoo is artistic representation by using different colours. Taking a case study on the art of the Japanese tattoo, trend and the pop culture, in-depth interview of tattooist and the tattooed, they regard tattoo as a process where colours are used as a definitive tool to create a piece of art by in this case on a human body. Society recognizes that a piece of painting on canvas using different beautiful colours is an art. Furthermore, people already recognize that painting hanging on the wall that was made on board using different colours is an art. However, there is lack of connectedness in such beliefs and recognition when the same colours and artist make a drawing on human body. This is the position that Hardy (2012) attempts to present with regard to his “The Mammoth Book of Tattoo” research. His argument is premised on the cultural representation of pop musician and how the colours used in their tattoos are representation of their genre of music. The colourful images from paints as exhibited in pop culture are arts with unique innovations. Different colours on pop artists flows up the stream power in what has been popular art culture, and to underscore the culture, tattoo incorporates colourful images to represent tenets of the music genre. 4.0. Tattooing is not an Art for Future Generation One critical element that defines the concreteness of an art is that it should be passed from one generation to another. In as much as arguments above have indicated that tattoo is an art not only with rich history, but a representation of different cultures, people’s reluctance to pass it to the next generation is attestation that its ‘artistic scope’ has not been fully taken on the society. Proponents of this view include Mr. Buchihi who argues that the tenets of tattoo as a practice do not allow it to be passed from one generation to another (Baumann, Timming and Gollan 2016). From the one hand, tattoos fail to capture specific elements of art needed to be passed from generation to generation because unlike art, it entails modifications the body. As a result, tattoos continue to be undesirable object from different socio-economic backgrounds. Timming (2015) supports this view adding that an art should be impressive and as such, generations should make attempts to innovate it so that it reflects different perspectives of the society. The social and cultural practices of communities on tattooing as well as the causal connection between the mind and the tattoo today does not reflect the true identity of people as art would. In as much as Hardy (2012) presents his arguments on the perspective of colourful ink, to some culture the so called art is regarded as conjure images relating to drug trafficking, jails and other social injustices. This perspective disqualifies tattooing from being any part of art---making proponents such as Mr. Buchihi to be concerned on ways in which such images and representations in the society can be regarded as an art to be admired by the generations come. 5.0. Missing Link from Buchihi Arguments However, there have been different perspectives that have been advanced to show the extent to which arguments postulated by Mr. Buchihi may be wrong with regard to current development and perception of tattoo. First, there is agreement that tattoos may not constitute an art by virtue of their representations and that argument has been supported by Jones (2015). However, arguing that an art needs to be passed from one generation to another for it to constitute an art as Buchihi argues does not qualify all elements of art. That is, not all that is passed from one generation to another forms an art. In fact, not all artistic works have been passed from one generation to another. As such, researches continue to support the argument that tattoos are far from being art. As a matter of fact, the artistic nature of art remains to be a controversial debate. From one perspective, he argues that tattoos are not art because they represent a gang and a sign of rebellion especially among the young generation. An art does not seek to discriminate itself from another age group of socio-cultural settings instead, it should be inclusive and loved by all. Tattooing is often associated by a given group of people, mostly the young. This position makes it difficult to relate tattoo as an art especially when Sanders and Vail (2008) argued that tattoos are indeed art works that came to be incorporated or integrated as artistic and cultural practice among different groups of people. 6.0. Conclusion The essay has based the argument on different researches, interviews and surveys from tattooist and tattooed individuals to understand the relationship between tattoos and art. Based on research evidences cited, the essay finds that tattoos are art; one which is intertwined in people’s socio cultural histories and backgrounds. From researches that have based on neutrality to those that have approached the topic from neoliberal multicultural backgrounds tattoo is a representation of people, it is a practice that is characterized as art though performed on the body. Perhaps performing the art on the body is what makes Mr. Buchihi have contrary opinion. Furthermore, it is essential to contest the artistic nature of tattoos from evidence base researches rather than personal opinion. Currently, views that have held that tattoos are not near art lack validity and reliability with regard to data collection and inclusivity in their findings. References Atkinson, M., 2003. Tattooed: the sociogenesis of a body art. Toronto, University of Toronto Press. Baumann, C., Timming, A.R. and Gollan, P.J., 2016. Taboo tattoos? A study of the gendered effects of body art on consumers' attitudes toward visibly tattooed front line staff. Journal of Retailing and Consumer Services, 29, pp.31-39. Hardy, L., 2012. The Mammoth Book of Tattoo. New York, Constable & Robinson. Jones, J., 2015. Ink-credible: do tattoos count as art? The Guardian. http://www.theguardian.com/artanddesign/jonathanjonesblog/2015/feb/18/do-tattoos-count-as-art Marchesi, A., Parodi, P.C., Brioschi, M., Marchesi, M., Bruni, B., Cangi, M.G. and Vaienti, L., 2014. Tattoo ink-related cutaneous pseudolymphoma: a rare but significant complication. Case report and review of the literature. Aesthetic plastic surgery, 38(2), pp.471-478. Randall, E., 2013. Tattooing Makes Transition from Cult to Fine Art. The New York Times. Sanders, C., & VAIL, D. A., 2008. Customising the body the art and culture of tattooing. Philadelphia, Temple University Press. pp. 149-189. Timming, A.R., 2015. Visible tattoos in the service sector: a new challenge to recruitment and selection. Work, Employment & Society, 29(1), pp.60-78. Read More