Inaugural Maharam at Moss features new collaboration with Hella Jongerius – New York City

September 29th, 2011 by

Hella Jongerius, Hours, 2011, courtesy Maharam

October 4 – November 2011

Continuing the exploration of embroidery that began with Layers in 2008, Maharam introduces Borders by Hella Jongerius. With Layers, Jongerius employed embroidery to bind two layers of wool felt as a base for windows of hand-cut pattern. Turning to another example of embroidery that is both decorative and functional, Borders stems from Jongerius’ interest in the traditional backstrap weaving of Guatemala and Mexico, in which the loom is tethered between the weaver’s body and a tree or post. Because backstrap weaving produces a narrow cloth, two or more pieces are often hand embroidered together using a heavy decorative stitch. Borders is an industrial translation of this localized craft technique. The embroidered lines that traverse Borders’ surface are archetypal motifs culled from different genres, including a botanical, a dotted line, and pied de poule, forming an irregular grid of unique compositions.

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Maarten Baas, Joost van Bleiswijk and Kiki van Eijk at Moss – New York City

May 14th, 2011 by

Joost van Bleiswijk, One More Time: Little Clock (blue anodized aluminum), 2011, courtesy Moss and the designer

May 14 – June 30, 2011

Murray Moss and Franklin Getchell are pleased to present “Fraternal Twins,” highlighting variations in degree of identicalness found in various Studio Multiples during repetition in fabrication accompanied by emerging Geek applications of advanced digital fabrication, laser-based technologies, and simple force

Featuring: ONE MORE TIME by Kiki van Eijk and Joost van Bleiswijk, Christian Haas, Oscar Magnus Narud, Massimiliano Adami, Julien Carretero, Maarten Baas, Peter Marigold, Gaetano Pesce, Borek Sípek, Chen Chen, Phillip Low, Haresh Lalvani for Milgo/Bufkin, Ron Gilad for FLOS, Cristian Zuzunaga for Moroso and Nanimarquina, Tokujin Yoshioka for Moroso, Venini, .MGX by Materialise, Barbara Seidenath in association with Gallery Loupe, Vintage works in polyester resin and acrylic (1949-1963) by pioneer sculptor Leo Amino.

Kiki van Eijk, One More Time: Floating Frame Mantel Clock (sandblasted, nickel plated copper), 2011, courtesy Moss and the designer

Curator’s statement:

Born a fraternal twin (I have a lovely sister), I’ve naturally always been fascinated by the phenomena and definition of ‘duplication’; a person born in my circumstances is, in fact, medically referred to as a ‘multiple’.

‘Zygosity’ is the term used to indicate the degree of identicalness in the genome of twins. In fraternal twins (versus, say, cloned embryos), statistics indicate an extremely small chance of the children having the same chromosome profile. In other words, even given the double pregnancy (the production of multiples), variance is the norm.

Maarten Baas, Plain Clay Furniture (floor light black), 2011, courtesy Moss and the designer

In our exhibition, Fraternal Twins, we present clocks, tables, chairs, benches, lamps, and vases produced by various designers and artists in their Studios as ‘multiples’ or twins born ‘fraternal’. Although genetic similarities are apparent, and indeed quite obvious in the serial production of these objects, due to the processes involved and the materials and finishes used there are wide swings in zygosity.

Exact replication, or cloning long considered the ‘Gold Standard’ for the serial production of fine objects of ‘quality’ is here put aside.

In this exhibition, we celebrate the possibilities of fraternity: brotherhood, but with individuality.

Murray Moss

150 Greene street

New York, NY 10012

Tel.: 212-204-7100

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Dutch design placed by Moss in various American museum collections – USA

December 29th, 2010 by

Nearly closing out 2010, here’s a tribute to our friends at Moss, who weathered a storm, but continued their unprecedented commitment to, and care for the best in design from around the globe. Kudos to them for recently bringing a great selection of exemplary Dutch design into prominent museum collections in the United States.

As part of its ongoing efforts to expand awareness and understanding in contemporary art and design, Moss has been engaged in a dialogue with museum professionals and their patrons to place works of exceptional quality in Museum collections. This thereby allows public access to important art and design, gives the artists a foundation for future projects, places contemporary objects in an art historical context and increases the visibility and viability of contemporary art and design vis-a-vis museum acquisitions.

Recent museum acquisitions of Dutch design from Moss included work by: Maarten Baas, Tord Boontje, Dick van Hoff, Hella Jongerius, Claudy Jongstra, Tomáš Gabzdil Libertiny, Tejo Remy.

Where There’s Smoke Zig Zag Chair (Rietveld), Maarten Baas, 2003, acquired by San Francisco Museum of Modern Art Hey Chair, Be a Bookshelf (trumpet), Maarten Baas, 2005, acquired by Indianapolis Museum of Art

The End: Little Flowers Falling, black, Tord Boontje, 2004, Moroso, Italy, acquired by Museum of Fine Arts, Houston

Washbasin, Dick van Hoff, 1996, prototype/unique piece, Droog, acquired by Cincinnati Art Museum (gift of Murray Moss and Franklin Getchell) Layers: Quilted vase, Hella Jongerius, 2006, JongeriusLab, acquired by Indianapolis Museum of Art

The Four Seasons, Hella Jongerius, 2007, a suite of four individual works in porcelain, Porzellan Manufaktur Nymphenburg, Germany, acquired by Philadelphia Museum of Art

Repeat Bowl, Hella Jongerius, 2002, JongeriusLab, acquired by Museum of Fine Arts, Houston

Japonesque Wedding Dress, Claudy Jongstra, Arlette Muschter, 2000, unique piece in handmade felt, acquired by Cincinnati Art Museum

Pelt (red, handmade felt), Claudy Jongstra, 2006, acquired by Museum of Fine Arts, Houston

Made by Bees: Honeycomb Vase #1 (natural), Tomáš Gabzdil Libertiny, 2006, Studio Libertiny, acquired by Cincinnati Art Museum

You Can’t Lay Down Your Memories, Tejo Remy, circa 2000, Droog, acquired by Cincinnati Art Museum

For more information:

150 Greene Street

New York, NY 10012

Tel.: 212-204-7100

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Studio Job lecture and book launch of first monograph "The Book of Job" at the Cooper Union – New York City

December 7th, 2010 by

Tuesday, December 7, 2010, 6:30pm

Playing off the near-biblical intensity of Studio Job‘s oeuvre, this monograph, their first, is titled The Book of Job. The lavish package resembles a traditional leather-bound bible featuring a number of custom-printing effects including raised bands on the spine of the hardcover case which is covered in imitation leather overlaid with a dense signature composition by Studio Job, gilded page edges, cloth markers, black-letter type, and letterpress elements that distinguish the book from the conventional treatment of design monographs. Further, the slip-cased book is two-in-one with Studio Job on one side, and then on the flip side, the biblical The Book of Job, complete with illustrated illuminations.

Themes present in the biblically inspired The Book of Job are echoed in the organization of the volume, translating the formal wit of Studio Job partners Job Smeets and Nynke Tynagel’s work into print. Interior spreads, including photographs taken expressly for the book, and gatefold tableaux specifically designed by the artists and created using special dies, will provides rare insight into Studio Job’s particular approach to design and pattern-making, resulting in a highly collectible and rarified book.

The award-winning furniture and art objects designed by Smeets and Tynagel bring a monumental and historic sensibility to contemporary design, leavened with unapologetic wit and romance. Celebrated in design and art fairs from Milan to Miami, and featured in the most important collections, both public and private, the pair’s creations – from sculpture to graphic design to architecture – have attracted a cult following among the design and art cognoscenti. Studio Job’s work is drawn from an artistic tradition that infuses everyday objects with grand historical themes, and these inspirational sources have been harnessed to create an unprecedented volume embodying the process of these designers.

The launch event begins at 6:30pm at the historic Great Hall of The Cooper Union, with a lecture by Job Smeets, “Free as a Ball and Chain,” followed at 7:30pm by a book signing and wine reception with Job Smeets and Nynke Tynagel in the Peter Cooper Suite – the “hidden,” little known clock-tower room, an elevator’s ride away from the Great Hall.

Please join Studio Job, Moss, and Rizzoli New York at The Cooper Union for one or both of these events to celebrate the release of the new monograph with texts by 10 authors including Murray Moss, Alessandro Mendini, Nadja Swarovski, Gareth Williams and Viktor & Rolf.

The Cooper Union, Great Hall
7 East 7th Street

New York, NY 10003

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Joost van Bleiswijk and Kiki van Eijk in group exhibition at Moss – New York City

September 15th, 2010 by

September 15 – November 14, 2010

Moss presents “Make Me: The Emergence of Butch-Craft in Contemporary Design,” with participating artists and designers Peter Marigold, Oscar Magnus Narud, Joost Van Bleiswijk, Kiki Van Eijk, Marcus Tremonto, Qubus Design Studio, Studio Formafantasma, Aaron Raymer, Drift, Christopher Chiappa, Simon Hasan, and Sergio Rodrigues.

While there is never at any one moment a singular, all pervasive and universal narrative being written in design or art, occasionally there emerges a critical mass, a ‘tipping point’ as author Malcom Gladwell calls it, of influential designers and artists, some established and some perhaps little known outside their professional circles, whose work simultaneously addresses similar issues or reflects similar contemporary-culture realities (perhaps aesthetic, or political, or economic, or sociological in nature), embodying certain across-the-board characteristics which cumulatively have the potential to create a social epidemic, like a virus moving through the population.

Kiki van Eijk, ceramic pieces from the Zuiderzee Settings collection

“MAKE ME." presents a small but diverse body of work by an otherwise un-related collective of artists and designers, which together celebrate a rough-hewn, virile, reductive, anti-academic, craft-driven, ‘tool-belt and heavy-lifting’ aesthetic, paradoxically realized with such sensitivity and finesse, often embodying subtle, complex theoretical, structural, formal, and compositional aspects, and infused with such poetic narrative as to be necessarily characterized as ‘butch’, a word defined in today’s vernacular as a stereotypical ‘brute-masculine’ approach taken by a stereotypical ‘sensitive-feminine’ personality.

Joost van Bleiswijk, from the No Screw, No Glue series

We introduce the term ‘Butch-Craft’ in an effort to articulate a phenomena: that after years of an increasingly accepted yet hard-won broader, more inclusive definition of design, liberated only recently from the once mandatory ‘form follows function’ credo, we are witnessing a kind of backlash. Not a retreat from the now-accepted practice of infusing poetic narrative into functional objects we still want to engage more fully with our object culture, not simply regard it as a ‘tool for living’. No, rather than a retreat from this positive development, we are seeing the emergence of an alternative means of giving this ‘art content’ form and expression in functional objects. Poetic narrative no longer needs to be dressed in traditional ‘Art’ garb it no longer needs to ‘pass’ as Art. Gilded bronze, exotic regionalisms, complex and immaculately executed 3-D printed abstract futuristic forms, while still employed as critical elements by certain recognized masters, no longer exclusively define art-in-design. Works, both past and present, that overtly resemble ‘furniture’, executed in wood and iron and steel and stone, are now in fact automatically assumed to contain a narrative, a poetic gesture. Function no longer is presumed to neuter any potential for Art; we accept that addressing a prosaic function doesn’t lead necessarily to a prosaic object.

Through the examples we present in "MAKE ME.", we acknowledge a tipping point, where art-in-design no longer needs to look like what we recognize as Art; art-in-design no longer needs to wear its art on its sleeve — Murray Moss, August 2010

150 Greene Street

New York, NY 10012

Tel.: 212-204-7100

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Moss Gallery presents Poetic License exhibition with work by Maarten Baas and Studio Job – New York City

May 15th, 2010 by

May 15 – June 26, 2010

Moss Gallery presents “Poetic License: deliberate deviations from normally applicable rules and practices.”

With work by Michele de Lucchi, Maarten Baas, Fernando and Humberto Campana, Mathias Bengtsson, Michael Anastassiades, R&Sie(n)/Francois Roche, Studio Job, Oskar Zieta, Patrick Jouin, Finn Magee, Philippe Starck for Flos and works by Mark Alexander, Josh Smith, Robert Mapplethorpe (courtesy of the Sean Kelly Gallery, New York) and Philippe Parreno shown in collaboration with independent curators Thea Westreich and Ethan Wagner, New York

Each of the designers featured in Poetic License personifies the attribute by which Moss defines the exhibition. Each pushes the boundary of what’s been done before in a variety of media, and each invents. The range of work represented by the six studios is extraordinary by any standard. Moss is proud to present their next level of achievement in rule breaking.

Celebrating its 15th anniversary, Moss Gallery has continuously presented, through highly curated exhibitions in its now-iconic SoHo gallery, as well as its installations at Design Miami/Basel, the ever-evolving rich dialogue between Industrial Design and Studio Art, illuminating the intersections of various disciplines as they merge and morph, fluidly crossing boundaries and breaking taboos surrounding function, decoration, art and design. Championing the work of narrative as well as process-based conceptual artist/designers such as Maarten Baas, Fernando and Humberto Campana, Studio Job, Tord Boontje, Gaetano Pesce, Hella Jongerius, Tom Dixon, Arik Levy, and Andrea Salvetti, Moss articulates the vital thinking that is inherent in their works.
Moss New York
150 Greene Street

New York, NY 10012

Tel.: 212-204-7100

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Studio Job and Maarten Baas at Moss, Independent Fair – New York City

March 4th, 2010 by

Maarten Baas, Burned, courtesy Moss

March 4 – 7, 2010

Moss and Westreich-Wagner collaborate on this that & then some installation at new art fair Fitting comfortably within the self-defined "hybrid forum", as new art fair INDEPENDENT calls itself, is an installation by Murray Moss and Franklin Getchell of New York design gallery Moss and independent art curators, Thea Westreich and Ethan Wagner.

Their installation, this that & then some, pairs art objects and design objects as possibilities. Works on display are placed in dialogue to elicit dialogue. It offers an alternative mode of presentation, eschewing the pure, unmitigated museum/gallery space where works are considered essentially on their own, for something more akin to the actuality of residential living, where works are seen proximate to each other.

Says Thea Westreich: "The installation posits that relationships the placement of art with design, and design with art can serve to illuminate visual and conceptual meaning, just as such pairings can re-orient or even obliterate notions of beauty, function and hierarchy." this that & then some is meant to embrace and accentuate the matter of placement as a modality for the collector’s subjective expression. Thus, says Murray Moss, "the combinations in this exhibition are not intended as ultimate answers, but rather as momentary placeholders, indicators of infinite possibilities."

Studio Job, Graphic Paper Chandelier (Limited edition, 2007), courtesy Moss

Work from the following artists and designers will be shown: Diane Arbus, Maarten Baas, Pablo Bronstein, Fernando and Humberto Campana, Larry Clark, Ilse Crawford, Ann Demeulemeester, Valie Export, Michal Fronek & Jan Nemecek, Robert Gober, Johanna Grawunder, Sol LeWitt, Tomas Gabzdil Libertiny, Julia Lohann, Wilhelm Neuhauser, Gaetano Pesce, Sterling Ruby, Josh Smith, Thomas Struth, Studio Job, Christopher Wool

548 West 22nd Street

New York, NY

Tel.: 212-204-7100

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