Today, MoMA is the place where you can see the most important collections of modern art of the modern world. It brings to mind such names as Michel Basquiat, Andy Warhol, Marina Abramovic. It is associated with intriguing exhibitions, installations that do not leave the viewer indifferent. Before I get to the bottom of the matter, logo and identification. It will be briefly about the beginnings of one of the most recognizable cultural institutions in the world, which was inaugurated in 1929.
The founders of the museum were Abby Aldrich Rockefeller, a social activist and philanthropist, Lillie P. Bliss and Mary Quinn. Three friends decided to create an institution dedicated to contemporary art in order to popularize recognized works and promote young artists. Thanks to Abby, one would think that there was no shortage of funds, but her husband was not fond of modern painting and refused to allocate part of his fortune for this purpose.
However, in 2019, the Rockefeller family made a record donation of $200 million, thereby underscoring their attitude towards this institution.
1964 Dress - It's my MOMA
The history of visual identification and logos began in 1964 when the museum introduced its distinctive sign in collaboration with Ivan Chermayeff of the agency that is now called Chermayeff & Geismar & Haviv names of current partners. The logotype was then assembled in Franklin Gothic typeface no. 2. A simple design system was also developed, containing basic geometric forms - square, triangle and circle in repetitive patterns. It was used on packaging, promotional materials, programs, and banners and flags.
1980 - Small “o”, big change
Let's try to understand why this identity is so successful in its image. The choice of abbreviation created a very strong bond between the institution and the public. The syllables “MO” and “MA” refer to possession and self, “Me”, “Mine”, “We”, communicating the democratization of access to culture. Minimalism in the choice of graphic logo emphasizes modesty, just as this simplicity has its roots in abstract art, Suprematism, Bauhaus, in other words, contemporary art.
It is interesting that, contrary to popular belief, the logo as we know it today, i.e. in the “MoMA” version with a small “o”, is not the work of Ivan Chermayeff and may have misled the graphic relationship of another work of Ivan, that is, the Mobil logo (geometric letters, M and small “o”). Not only that, a visual treatment with a small “o” is not really the work of a designer! Originally “MOMA” was written in versals, it was not until the 1980s that the minuscule “o” was introduced into general use. The originator is one of the employees of the administration. Stephen F. Eskilson, author and professor of art history, reveals this incredible anecdote in his book “Graphic Design, A New History”. The advantage of this ingenious treatment was to transform the acronym into a name, giving it personality and an original look. Another important advantage was that it was easier for people who did not speak English to pronounce the name.
2004 year - MoMA Gothic
MoMA Gothic was created, a dedicated typeface that replaced Franklin Gothic No. 2 in the logotype. It was specially commissioned by the museum and designed by Matthew Carter.
2009 year. - Pentagram
Although the MoMA logo is already iconic enough and enjoys a lot of recognition, it is not enough in itself to constantly follow the spirit of the institution. What was needed was an organized and flexible system that supported programming materials in print, web and in urban space. At that time, the Pentagram studio and experienced designer Paule Scher, who is known, among other things, for projects for Teatro pubblico AND City Bank btw. I recommend 5 episode from the series Abstrakt on Netflix.
In the projects of Scher and Hoffman (MoMA's creative director), the logo is clearly emphasized as an element that focuses the attention of the recipient. Dynamic framing, the compositions are quite strict and give the impression of chaos with which art is often associated. And yet the whole is perceived as authentic and coherent. The color palette is noticeably brightened. All to create a bold and contemporary image of the modern art museum of the city that never sleeps. The identity also highlights the museum's leading role in the field of graphic design.
A strong grid has been created, scale and framing have been adjusted - the result is a modern image. Artwork images are displayed in their entirety or are cropped for effect. (Previously, the museum usually did not frame images of works of art.) The images are paired with a logotype that has a consistent vertical position similar to the signage on the facade of the museum. In most applications, one large image is selected as the focus, representing the current exhibition or signature from the collection. The list of upcoming events not related to the presented image is arranged in the form of a small text block.
2017 year. - MoMA Sans
Commercial Type's Christian Schwartz updated MoMA Gothic and the MoMA logo to create MoMA Sans, commissioned by the studio Har gemaakt. The new cut is a polished interpretation of Franklin Gothic No. 2.
2019 year - Order
In the fall of 2019, MoMA expanded its 53rd Street location with 40,000 square feet of new gallery space that will showcase more of its unprecedented collection — balancing the diversity of environments, time slots, media, and geographic locations — and placing Performance at the heart of the gallery. As MoMA's communication approach shifted from exhibition-focused campaigns to a seasonal (spring-summer-fall) approach, MoMA turned to the New York-based studio Order to jointly define a more modular, flexible and scalable system for designing advertisements and related materials.
A modular system has been established that combines text, image (moving or still) and transforming messages into large compositions that can be scaled, moved and enlarged based on any media format. The result is a design system that can develop from a single event to a full range of other seasonal exhibitions and activities.
Sources: Pentagram, Orden, Made Though, Typ Hari, MoMA Design Studio, PepRally, Doberman, Chermayeff & Geismar & Haviv, Moma.org
