Morbid Ink: Field Notes on the Human Memorial TattooYou can find out more about this presentation here. You can get directions to Observatory--which is next door to the Morbid Anatomy Library (more on that here)--by clicking here. You can find out more about Observatory here, join our mailing list by clicking here, and join us on Facebook by clicking here.
An Illustrated lecture with Dr. John Troyer, Deputy Director, Centre for Death and Society, University of Bath
Date: Tuesday July 20th
Time: 8:00
Admission: $5
Presented by Morbid Anatomy
In 1891, Samuel F. O’Reilly of New York, NY patented the first “…electromotor tattooing-machine,” a modern and innovative device that permanently inserted ink into the human skin. O’Reilly’s invention revolutionized tattooing and forever altered the underlying concept behind a human tattoo, i.e., the writing of history on the body. Tattooing of the body most certainly predates the O’Reilly machine (by several centuries) but one kind of human experience remains constant in this history: the memorial tattoo.
Memorial tattooing is, as Marita Sturken discusses the memorialization of the dead, a technology of memory. Yet the tattoo is more than just a representation of the dead. It is a historiographical practice in which the living person seeks to make death intelligible by permanently altering his or her own body. In this way, memorial tattooing not only establishes a new language of intelligibility between the living and the dead, it produces a historical text carried on the historian’s body. A memorial tattoo is an image but it is also (and most importantly) a narrative.
Human tattoos have been described over the centuries as speaking scars and/or the true writing of savages; cut from the body and then collected by Victorian era gentlemen. These intricately inked pieces of skin have been pressed between glass and then hidden away in museum collections, waiting to be re-discovered by the morbidly curious. The history of tattooing is the story of Homo sapiens’ self-invention and unavoidable ends.
Tattoo artists have a popular saying within their profession: Love lasts forever but a tattoo lasts six months longer.
And so too, I will add, does death
Dr. John Troyer is the Death and Dying Practices Associate and RCUK Fellow at the Centre for Death and Society at the University of Bath. He received his doctorate from the University of Minnesota in Comparative Studies in Discourse and Society in May 2006. From 2007-2008 he was a Visiting Assistant Professor in the Department of Comparative Studies at The Ohio State University teaching the cultural studies of science and technology. Within the field of Death Studies, he analyzes the global history of science and technology and its effects on the dead body. He is a co-founder of the Death Reference Desk website and his first book, Technologies of the Human Corpse, will appear in spring 2011.
Morbid Ink: Field Notes on the Human Memorial TattooYou can find out more about this presentation here. You can get directions to Observatory--which is next door to the Morbid Anatomy Library (more on that here)--by clicking here. You can find out more about Observatory here, join our mailing list by clicking here, and join us on Facebook by clicking here.
An Illustrated lecture with Dr. John Troyer, Deputy Director, Centre for Death and Society, University of Bath
Date: Tuesday July 20th
Time: 8:00
Admission: $5
Presented by Morbid Anatomy
In 1891, Samuel F. O’Reilly of New York, NY patented the first “…electromotor tattooing-machine,” a modern and innovative device that permanently inserted ink into the human skin. O’Reilly’s invention revolutionized tattooing and forever altered the underlying concept behind a human tattoo, i.e., the writing of history on the body. Tattooing of the body most certainly predates the O’Reilly machine (by several centuries) but one kind of human experience remains constant in this history: the memorial tattoo.
Memorial tattooing is, as Marita Sturken discusses the memorialization of the dead, a technology of memory. Yet the tattoo is more than just a representation of the dead. It is a historiographical practice in which the living person seeks to make death intelligible by permanently altering his or her own body. In this way, memorial tattooing not only establishes a new language of intelligibility between the living and the dead, it produces a historical text carried on the historian’s body. A memorial tattoo is an image but it is also (and most importantly) a narrative.
Human tattoos have been described over the centuries as speaking scars and/or the true writing of savages; cut from the body and then collected by Victorian era gentlemen. These intricately inked pieces of skin have been pressed between glass and then hidden away in museum collections, waiting to be re-discovered by the morbidly curious. The history of tattooing is the story of Homo sapiens’ self-invention and unavoidable ends.
Tattoo artists have a popular saying within their profession: Love lasts forever but a tattoo lasts six months longer.
And so too, I will add, does death
Dr. John Troyer is the Death and Dying Practices Associate and RCUK Fellow at the Centre for Death and Society at the University of Bath. He received his doctorate from the University of Minnesota in Comparative Studies in Discourse and Society in May 2006. From 2007-2008 he was a Visiting Assistant Professor in the Department of Comparative Studies at The Ohio State University teaching the cultural studies of science and technology. Within the field of Death Studies, he analyzes the global history of science and technology and its effects on the dead body. He is a co-founder of the Death Reference Desk website and his first book, Technologies of the Human Corpse, will appear in spring 2011.
Preserving the Criminal CodeThe entire photo story, with the full article and image collection (highly recommended!), can be found by clicking here; text and images by Katarzyna Mirczak as published on the Foto8 website.
Photo Stories
Katarzyna Mirczak
The tattoo collection at the Department of Forensic Medicine at Jagiellonian University in Krakow, Poland consists of 60 objects preserved in formaldehyde, a method devised by one of the experts employed by the Department at the turn of 20th century.
The tattoos were collected from the prisoners of the nearby state penitentiary on Montelupich Street as well as from the deceased on whom autopsies were performed.
The majority of the prison tattoos represent connections between the convicts. Besides gestures and mimics it is a kind of secret code – revealing why 'informative' tattoos appeared on uncovered body parts: face, neck or arms.
The collection was created with a view to deciphering the code – among prisoners known as a 'pattern language'. By looking closely at the prisoners' tattoos, their traits, temper, past, place of residence or the criminal group in which they were involved could be determined.
In Poland, tattoos are common among criminals. Traditionally, they could be found on people who exhibited a tendency towards perverse behaviour: such as burglars, thieves, rapists and pimps. It was noticed that a significant percentage of tattooed people showed signs of personality disorders and aggressive behaviour. In the 1960s in Poland, getting a prison tattoo required special skills and criminal ambition – it was a kind of ennoblement, each tattoo in the criminal world was meaningful...
The tattoo on Olivier Lux’s chest, living in Belgium and Morbid Anatomy’s great fan, was tattooed by One More Tattoo Studio in Luxemburg-City. It represents Annie Jones Elliot, a well known bearded lady who I chose because of her particular femininity. The « tattooed guy » also collects all manner of things relating to other bearded ladies, especially Clémentine Delait of France.Thanks so much, Oliver, for sending this photo and story along.
For reminder (thanks Wikipedia!), Annie Jones-Elliot (c. 1860 – 1902) was an American bearded woman, born in Virginia. She toured with showman P. T. Barnum as a circus attraction. It is unconfirmed if this was a case of Hirsutism or an unrelated genetic condition that affects children of both sexes and continues into adult years.
This tattoo signifies my decision to register with the University of Alabama-Birmingham's Anatomical Donor Program, i.e. making a bequest of my body to medical research after my death. I had the tattoo artists at the shop, Blue Rose Tattoo in Huntsville, sign as my witnesses on the donor form. :) Greg Ross did the fine tattoo work from my original design. The imagery is a combination of memento mori funeral portraiture and versions of anatomical venus type wax models.
If I were going to add a literary quotation to acccompany the tattoo, it would be the following: "Grave: a place in which the dead are laid to await the coming of the medical student." DEVIL'S DICTIONARY. Ambrose Bierce. 1911. I do wonder what the future medical students might make of this tattooed cadaver?