MoMA The Museum of Modern Art (Venue Partner)
11 W 53rd St
212.708.9400
This event has passed.
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Jan Tschichold. Die Frau ohne Namen. 1927. Offset lithograph, 48 3⁄4 x 34" (123.8 x 86.4 cm). The Museum of Modern Art. Peter Stone Poster Fund
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Dec 23, 2009 – July 12, 2010
Mondays (10:30am–5:30pm)
Wednesdays–Thursdays (10:30am–5:30pm)
Fridays (10:30am–8pm)
Saturdays–Sundays (10:30am–5:30pm)
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- Price
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$20
- Links
“A typographic manual and manifesto, Jan Tschichold's 1928 The New Typography heralded a "see" change in how the printed page was laid out. Thereafter, Central Europe's stylistic rule was out with the floral, typecast symmetry and in with punchy, sanserif free form — as Tschichold put it, "Asymmetry is the rhythmic expression of functional design." This modernist installation features Soviet Russian, German, Dutch, and Czechoslovakian type-and-photo designs for posters, magazines, and brochures, among other printed matter.”
Jason Jude Chan, Flavorpill
Note:
The Museum closes early (3pm) on Christmas Eve, and is closed Christmas Day.
In the 1920s and 1930s, the so-called New Typography movement brought graphics and information design to the forefront of the artistic avant-garde in Central Europe. Rejecting traditional arrangement of type in symmetrical columns, modernist designers organized the printed page or poster as a blank field in which blocks of type and illustration (frequently photomontage) could be arranged in harmonious, strikingly asymmetrical compositions. Taking his lead from currents in Soviet Russia and at the Weimar Bauhaus, the designer Jan Tschichold codified the movement with accessible guidelines in his landmark book Die Neue Typographie (1928). Almost overnight, typographers and printers adapted this way of working for a huge range of printed matter, from business cards and brochures to magazines, books, and advertisements. This installation of posters and numerous small-scale works is drawn from MoMA’s rich collection of Soviet Russian, German, Dutch, and Czechoslovakian graphics. They represent material from Tschichold’s own collection, which supported his teaching and publication from around 1927 to 1937.
