This is a detail of the poster invitation to WHITE GOLD, the Moss repositioning of Nymphenburg. With an equal regard for works conceived in the eighteenth century or the twenty-first century, Murray Moss explores ideas and narratives embedded in objects, whether ancient or contemporary, prototypical or fully resolved. Here, he has repositioned what was seemingly obsolete to a position of relevance today, available to a contemporary market, creating new life for ancient yet timeless expressions of humanity.
The exhibition was highly provocative, seen almost as a threat to the prevalent foothold of Modernism in design and architecture.
In her May 25, 2000, review for The New York Times, Julie V. Iovine characterized Moss’s introduction of figurative, patterned, fragile ‘eccentricities’ into his heretofore Modernist world as “…a gesture that could be interpreted as either the last straw for minimalism or an inspired embrace of refined product design.”