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1. 1 2020-03-04T15:52:32+00:00 Alicia Peaker fa9ce5cf6cff641fdb630497ef4559c09dbe1858 Exhibition as Decontextualization Carrie Robbins 18 structured_gallery 2020-05-20T00:46:08+00:00 Carrie Robbins 615680eb6c62151dd186dbf3ed63a15b0ea341ea
2. 1 2020-03-04T15:52:24+00:00 Alicia Peaker fa9ce5cf6cff641fdb630497ef4559c09dbe1858 Checklist of the Exhibition Carrie Robbins 6 plain 2020-05-19T13:48:05+00:00 Carrie Robbins 615680eb6c62151dd186dbf3ed63a15b0ea341ea
3. 1 2020-03-04T15:52:42+00:00 Alicia Peaker fa9ce5cf6cff641fdb630497ef4559c09dbe1858 Owen Jones, The Grammar of Ornament (1856) Carrie Robbins 3 BMC Carpenter Library NK1510.J73 plain 2020-05-18T21:35:37+00:00 20190503 015719 20190503 015719 Carrie Robbins 615680eb6c62151dd186dbf3ed63a15b0ea341ea

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1. 1 2020-03-04T15:52:42+00:00 Alicia Peaker fa9ce5cf6cff641fdb630497ef4559c09dbe1858 Owen Jones, The Grammar of Ornament (1856) 3 BMC Carpenter Library NK1510.J73 plain 2020-05-18T21:35:37+00:00 20190503 015719 20190503 015719 Carrie Robbins 615680eb6c62151dd186dbf3ed63a15b0ea341ea

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• 1 2020-03-04T15:52:32+00:00 Exhibition as Decontextualization 18 structured_gallery 2020-05-20T00:46:08+00:00

  
  
  
  
  
  
  above
  Tunic Fragment with Geometric Motifs
  Egypt
  ca. 300–700 CE
  Wool
  Jefferson University, T&CC 1987.1.27
  
  at right
  “Byzantine No. 3,” from Owen Jones, The Grammar of Ornament, Plate XXX (London, 1856)
  Paper with ink, leather, cloth, gold-leaf
  Bryn Mawr College, NK1510.J73
   
  The British advocate and theorist of design, Owen Jones, published The Grammar of Ornament in 1856. In this famous study, he reproduced images of artistic patterns from around the world and throughout history. The book was intended to help educate artists and the general public, and to inspire good design in nineteenth-century England. Although many of Jones’s designs came from three-dimensional works of art and architecture, they were reproduced in the book as flat images, divorced from their original contexts. The unique properties of the original works were obscured in the process, and their socio-historical significance was ignored in Jones’s study. The Early Byzantine textile on the right includes design elements that echo those in Jones’s illustrations of “Byzantine” works of art. The comparison demonstrates how the three‑dimensional details of an object—like the raised twining and interlace patterns of the textile—were lost.