MOMA EMBRACES TYPOGRAPHY
In January 2011, the art of typography passed a major milestone when the venerable Museum of Modern Art acquired 23 digital typefaces* for its Architecture and Design Collection. But how does a digital typeface exist in a physical space? What criteria governed the type choices? Is this the end of the road for these faces? And how are humble type designers coping with this major recognition? Join the AIGA/NY for a panel discussion moderated by TDC Chairman Charles Nix and featuring two of the designers responsible for more than half of the MoMA acquisitions—Matthew Carter and Jonathan Hoefler—and the curator responsible for bringing typography into the Museum’s fold—Paola Antonelli.
*The 23 acquired typefaces are: American Type Founders, OCR-A (1966); Wim Crouwel, New Alphabet (1967); Matthew Carter, Bell Centennial (1976–78); Matthew Carter, ITC Galliard (1978); Erik Spiekermann, FF Meta (1984–1991); Zuzana Licko, Oakland (1985); Jeffery Keedy, Keedy Sans (1991); Erik van Blokland and Just van Rossum, FF Beowolf (1990); Barry Deck, Template Gothic (1990); P. Scott Makela, Dead History (1990); Jonathan Hoefler, HTF Didot (1991); Neville Brody, FF Blur (1992); Jonathan Barnbrook, Mason (1992); Matthew Carter, Mantinia (1993); Tobias Frere-Jones, Interstate (1993–95); Matthew Carter, Big Caslon (1994); Albert-Jan Pool, FF DIN (1995); Matthew Carter, Walker (1995); Matthew Carter, Verdana (1996); Jonathan Hoefler and Tobias Frere-Jones, Mercury (1996); Matthew Carter, Miller (1997);Jonathan Hoefler & Tobias Frere-Jones, Retina (1999); and Jonathan Hoefler & Tobias Frere-Jones, Gotham (2000).
TIME AND PLACE
Monday 28 March 2011
The Celeste Bartos Theater , MoMA
The Lewis B. and Dorothy Cullman Education and Research Building
4 West 54th Street, between Fifth and Sixth Avenues