Plate One, from A New Book of Ornaments 1704

Curator: Editor: Here we have Simon Gribelin's "Plate One, from A New Book of Ornaments", created in 1704. It's an engraving printed on paper, held at the Art Institute of Chicago. What strikes me is how this image toes the line between high art and functional design. How do you see the relationship between these forms of production expressed in the work? Curator: Well, notice first the material itself: paper, a relatively common and reproducible material even then. Engraving allowed for the mass production of designs, effectively democratizing access to ornament. Gribelin wasn't necessarily creating a unique art object, but rather a template. How might the social context of production impact the piece? Editor: So, instead of thinking of it as a standalone artwork, we should consider its practical use. It’s an item made to disseminate style...almost like a catalog today. It reveals art's engagement with labor and consumption? Curator: Precisely. Consider who had access to these designs and for what purposes. This "New Book of Ornaments" likely circulated among artisans and craftspeople. It standardized, perhaps even dictated, aesthetic trends. Editor: It’s interesting to think about the artist’s role then - more facilitator, less singular genius? The means of reproduction really shapes its purpose. Curator: Absolutely! Gribelin’s labor contributed directly to a larger system of production, shaping tastes and decorative trends within a growing consumer culture. It begs the question: who controls aesthetics, and how? How is it all being industrialized, bit by bit? Editor: So, this engraving is less about individual expression, and more about the material conditions of artistic production in the 18th century and its consumption. Thanks for bringing it to life. Curator: And for opening our eyes to it's purpose, from both artist and audience points of view!