Tattoos deserve high art world recognition

By Cara Matsukane

Tattooing has become an increasingly acceptable form of self expression. Thanks to TV shows like Miami and L.A. Ink, tattooing has gained credibility that was nonexistent as few as 10 years ago.

However, even with all of the publicity and acclaim the tattoo industry has acquired lately, tattooing remains an outsider in the world of high art. Given the history of tattooing, it shouldn't be.

According to The Smithsonian Magazine, tattooing dates back as far as 3200 B.C. Throughout history, tattoos have been used as markers of status, religion, love, tribal affiliation, personal amulets, punishments or identification.

This history of tattooing gives us important insights into the cultures and societies that branded them. Today, tattoos provide social acumen. Like high art, tattoo pieces are commissioned. They are aesthetically pleasing and a mode of self expression.

Modern and contemporary art history tell us that there have been many art movements that deviate from the traditional art forms of painting and sculpture. For example, from 1880-1910, artists such as William Morris and Frank Lloyd Wright pioneered the Arts and Crafts Movement.

One of art history's most famous deviations from the traditional norms of art came in 1917, when Marcel Duchamp shocked museum-goers with his controversial piece "Fountain." By turning a urinal upside down, signing it "R. Mutt 1917" and titling it, Duchamp completely obliterated the canon of art. He put into question the value of creation, materials and most importantly, he challenged the concept of high art.

In the 1960s, performance and body art entered the scene with artists such as Yves Klein and Gilbert and George. Even graffiti has been considered part of the history of art. Tattoos, however, still remain neglected by art historians.

If Duchamp could make an upside-down urinal a lasting form of art, there is no reason why tattoos should be relegated to a lower class.

Human bodies have been one of the most popular and beautiful subjects of art throughout history. Why, then, can't they be one of the most beautiful canvases? Andy Warhol believed his physical appearance was part of his artwork. There is nothing to stop us from considering ours in the same way.

Junior Elaine Carreon has done just that with her thought-provoking tattoo. On her back, she has a revised version of the signature that Duchamp placed on his "Fountain": "R. Mutt 1988," indicating the year she was born. When asked why she chose that particular design, she responded, "Duchamp's work challenges us to question our preconceived notions of what art is. It helped me realize that limiting the definition of art is silly, so I thought, 'Why can't I be art too?'" Duchamp would surely agree that anything or anyone can be considered art.

There is nothing about tattoos that should keep them from having a place in the history of art. Sure, there are plenty of tattoos out there that are nothing but kitsch. We can thank people like Nick Lachey for putting a stain on tattooing's reputation.

But high art forms such as painting and sculpture also have been sullied by personalities such as Thomas Kinkade and all the nameless "artists" whose work you can buy at Pottery Barn.

It is a shame that real tattoo artists such as Horitaka do not receive enough credit for their artistry, but artists like Kip Fulbeck are doing their part to make room for tattooing in the world of high art.

In his book "Permanence," Fulbeck displays photographs of all kinds of different tattoos exploring the multitude of reasons that tattoos are chosen, and highlighting the art of particularly venerable tattoo artists.

Artists like Duchamp, Warhol and Fulbeck ensure that the definition of art is constantly being questioned, as it rightfully should. I am a firm believer that tattooing is a legitimate art that allows us all the potential and opportunity to be included in the art world.

Tattoos are symbols for what is important to us, moves us or what we find beautiful.

For people like Carreon and myself, it reminds us that there are no limitations to art. It can be found anywhere.

Cara Matsukane is a senior English and studio art double major and a designer for The Santa Clara.