A Dying Art

People are choosing cremation far more often these days. Open-casket funerals are on a steep decline, along with the professions that allow for loved ones to comfortably view their dead for the last time. For Harper’s Magazine, John Semley talks to Anthony Saldivar, Berri Cooper, Danielle Colquitt, and Hannah Bugos, all of whom competed in the Restorative Art Technical Showcase, “the highlight event of last year’s National Funeral Directors Association convention.” These elite undertakers are highly skilled in what’s known as restorative art, the process by which humans disfigured by grievous injury or disease are made to look like they did in life, so that their loved ones can bid farewell to someone they recognize.

Cooper has dealt with several particularly complex restoration cases during her long career. While we chatted, she pulled up images on her phone of a father who’d been burned so badly in an accident that he was, save for some faintly visible protruding teeth, barely identifiable as a person. She was able to perform a full facial reconstruction on him based on photographs, so that his loved ones could say goodbye to someone who was not only recognizably human, but familiar to them. “There’s not a body where I’ve said, ‘No, I couldn’t,’ ” she told me. That includes the mutilated body of a stillborn baby, whom Cooper embalmed and restored at a grieving mother’s request.

The vanishing of any craft is a tragedy to all who prefer the existence of a thing to its opposite, but restorative art represents more than just a niche domain of aesthetic achievement or a macabre postmortem racket. With its disappearance, we stand to lose a whole way of memorializing our dead: one that might be pricey, unnecessary, and even a little absurd, but only out of commitment to the notion that an occasion as final as death is worthy of pomp and circumstance.