THE HISTORY OF JEWELRY, FROM ANCIENT MESOPOTAMIA TO TODAY

While the pieces on display are beautiful, The Met’s Jewelry: The Body Transformed exhibition is lacking in curatorial vision, dividing the objects into blandly-broad thematic sections.

Julia Friedman

Gold Sandals and Toe Stalls, New Kingdom, Dynasty 18, reign of Thutmose III, ca. 1479–1425 BCE, from Egypt, upper Egypt, Thebes, Wadi Gabbanat el-Qurud, Wadi D, Tomb of the 3 Foreign Wives of Thutmose III, gold, sandals: L. 10 3/8 inches, W. 3 15/16 inches; W. at heel 2 3/4 inches (image courtesy The Metropolitan Museum of Art, Fletcher Fund, 1922 , and Fletcher Fund, 1921–22)

Jewelry: The Body Transformed features some 230 intriguing objects from the Metropolitan Museum of Art’s vast collection, from ancient Egyptian flip-flops made of gold to Alexander Calder’s loopy “Jealous Husband Necklace.” The exhibit demonstrates both the pitfalls and successes of a collection show; Transformed is loosely held together by an uninspired curatorial concept that is contrived to bring together motley items. However, it also demonstrates the impressive depth of the Met’s collection — the jewelry does not disappoint.

Marriage Necklace (Thali), late 19th century, India (Tamil Nadu, Chetiar), gold strung on black thread, bottom of central bead to end of counterweight: L. 33 1/4 inches (image courtesy The Metropolitan Museum of Art, Gift of Cynthia Hazen Polsky, 1991)

“Jewelry is the world’s oldest art form, predating cave paintings by tens of thousands of years,” states the exhibition’s introductory wall text. The distinction between fine art, craft, and fashion is conveniently blurred in this bold statement — isn’t clothing an art form? It likely predates jewelry — but the notions that humans used their bodies as the first canvases is certainly intriguing. Unfortunately, the exhibition doesn’t continue with this level of curatorial boldness. Instead, Transformed is divided into blandly broad thematic sections: The Divine Body; The Regal Body; The Transcendent Body; The Alluring Body; and The Resplendent Body. These categories are too vague — and in the case of “alluring” and “resplendent,” too alike — to provide a stimulating organizational lens. The strength of the show therefore resides in its dazzling individual objects — including ear ornaments, necklaces, nose rings, headdresses, and other baubles — whose function and effect often transcend the stated thematic categories…………….

.Broad collar of Senebtisi, Middle Kingdom, Dynasty 12, late–early 13 (ca. 1850–1775 BCE), from Egypt, Memphite Region, Lisht North, Tomb of Senwosret (758), Pit 763, burial of Senebtisi, MMA excavations, 1906–07, faience, gold, carnelian, turquoise, falcon heads and leaf pendants originally gilded plaster, restored in gilded silver, eyes originally gilded beads restored in gilded plaster, outside diameter 9 13/16 inches, max w. 2 15/16 inches (image courtesy The Metropolitan Museum of Art, Rogers Fund, 1908)

A more focused curatorial lens might have teased out how jewelry cemented or circumvented gender and class. While the exhibition touches on these issues throughout every section, sometimes explicitly, the exploration of these topics could have been deeper. Another possible lens would have been an examination of artistry: Who made these objects? How was skill passed down? Why were certain materials used? Even with Transformed’s frustrating organization, it’s a worthwhile show for anyone interested in craftsmanship, material culture’s relationship to power, or, simply, shiny beautiful things.  …………..

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