Getting Inked in Salt Lake, Samoa-Style

Before visiting Salt Lake City in December, I knew very little about Utah and the Church of Jesus Christ of Latter-day Saints, but I did know I wanted at some point in my scribbling career to review a tattoo show. My taste is catholic, and I hope I attract a discerning, eclectic readership. Over the years I’ve written about tartan, dog art, presidential assassinations, miniskirts, chocolate, cemeteries, Calvin Coolidge, and Ava Gardner. For me, tattoo art is mainstream.

Tattoos are indeed body art, and, like all art, some of it is good and most of it is kitsch. I look at tattoo art from an aesthetic viewpoint. Artists and patrons, who are also canvases, tend to be serious. I didn’t think my moment would arrive in Salt Lake, and the Utah Museum of Fine Arts, and via Tatau: Marks of Polynesia, the very good, eye-opening exhibition, though it’s rambling and in need of an edit.

About the Author

Brian T. Allen

Brian T. Allen is National Review’s art critic.

Before visiting Salt Lake City in December, I knew very little about Utah and the Church of Jesus Christ of Latter-day Saints, but I did know I wanted at some point in my scribbling career to review a tattoo show. My taste is catholic, and I hope I attract a discerning, eclectic readership. Over the years I’ve written about tartan, dog art, presidential assassinations, miniskirts, chocolate, cemeteries, Calvin Coolidge, and Ava Gardner. For me, tattoo art is mainstream.

Tattoos are indeed body art, and, like all art, some of it is good and most of it is kitsch. I look at tattoo art from an aesthetic viewpoint. Artists and patrons, who are also canvases, tend to be serious. I didn’t think my moment would arrive in Salt Lake, and the Utah Museum of Fine Arts, and via Tatau: Marks of Polynesia, the very good, eye-opening exhibition, though it’s rambling and in need of an edit.