Part 1: A Long Overdue Tattoo-Exhibit Critique
I so very much wanted to be able to write a positive review of the Field Museum of Chicago’s version of the tattoo exhibition that was put together by the Musée du quai Branly in Paris. I wish I could write something like: “As a scientific institution with a long history of supporting scholarship, the Field Museum diligently corrected the content mistakes of the original Tatoueurs, Tatoués show.” But instead I have to write: “The Field Museum’s new tattoo exhibition, while beautiful on the surface, is as fatally flawed as the previous two iterations of a show that should never have been allowed to travel to world-class institutions.”
I’ll frontload a quick tl;dr abstract of my criticisms:
- There are numerous content errors throughout the exhibition, particularly in the way “Western” tattooing is contextualized.
- The notion of “Tattooing in the West” as separated out from “global” or “non-Western” indigenous tattooing is a dated and unnecessarily dichotomous concept that smacks of colonialism and a hierarchical approach to studying culture.
- Many of the images in the show—images presented as artifacts, not as supplementary material—are reproductions rather than originals, when originals would have been easy enough to borrow. That many of these reproductions were sourced from photography clearing houses seems scandalous from a museum-academic standpoint; this is the same material that anyone with internet access can find with a few keywords.
- The show privileges design aesthetics over substance to provide “experience” rather than any substantive education.
- Poor curatorial choices resulted in some artifacts that are only tangentially related to tattooing (with no good explanation as to why they were included) and other artifacts that pale in comparison to superior examples readily available to borrow from multiple public and/or private collections.
- Women’s tattoo history is barely present in this exhibition; where it exists, it’s often treated voyeuristically. (Hat tip to my colleague Kimberly Baltzer-Jaray who noticed this when we were visiting the Toronto version of the show together.)