Most of my friends are seasoned New Yorkers who know their way around the city—where to find the best restaurants, sample sales, and live music—but whenever I invite them to see a film at MoMA with me, I hear, “Oh, MoMA shows film? I had no idea! What, like black-and-white art flicks?” Read more
AUTHOR: BRIGITTA BUNGARD
Posts by Brigitta Bungard
Last week, we launched version 2.0 of “I went to MoMA and…”, which began life as an impromptu experiment to see what would happen if we gave visitors an opportunity to share their experiences at the Museum—whatever those might be. Read more
Many people respond to our “I went to MoMA and…” prompt with words, whether they’re deep thoughts about the meaning of life or stories about time spent with family. But it’s only fitting that at an art museum, visitors would also react with images! Read more
A few weeks ago we posted a series of notes that visitors had left telling us about dates, kisses, and even marriage proposals taking place at MoMA, as you can see here. But museums aren’t just good for romance; they’re great places to go with family, whether you’re a parent bringing children or a teen escorting a grandparent. Read more
I find that the process of many design jobs is a journey between two extremes, both of which are usually to be avoided, but if you strike the right balance, you end up in some interesting places. Finding the graphic identity for the exhibition Counter Space: Design and the Modern Kitchen was a classic example. Read more
When I got off the elevator at the Architecture and Design department for a quick meeting with Juliet Kinchin about a new exhibition she was curating called The New Typography, I was surprised to see some original posters from the 1920s lined up along a wall, and many tiny pieces of stationery systems, brochures, flyers, and ads carefully spread out on a table. We don’t usually get to see the real artwork until just before the show, when installation is underway, and until then, we use exhibition catalogs or digital images for reference.
I felt like an anthropologist in the presence of an early human ancestor. As a graphic designer, I could relate to these pieces more than any other art I had worked with at MoMA. These ninety-year-old posters communicated loud and clear, and still looked amazingly cool. But when I took a close look, their difference from contemporary graphics was apparent: these works had a hand-crafted feel—a beautiful contrast to the clean geometry of the layout.
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