{"id":37973,"date":"2011-09-16T14:29:53","date_gmt":"2011-09-16T14:29:53","guid":{"rendered":"http:\/\/rafaelfajardo.com\/portfolio\/the-museum-of-modern-art-in-new-york-has-acquired\/"},"modified":"2018-12-06T14:39:09","modified_gmt":"2018-12-06T21:39:09","slug":"the-museum-of-modern-art-in-new-york-has-acquired","status":"publish","type":"post","link":"https:\/\/rafaelfajardo.com\/portfolio\/the-museum-of-modern-art-in-new-york-has-acquired\/","title":{"rendered":""},"content":{"rendered":"<div id='gallery-1' class='gallery galleryid-37973 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/rafaelfajardo.com\/portfolio\/the-museum-of-modern-art-in-new-york-has-acquired\/attachment\/37974\/'><img loading=\"lazy\" decoding=\"async\" width=\"100\" height=\"100\" src=\"https:\/\/rafaelfajardo.com\/portfolio\/wp-content\/uploads\/tumblr_lrmdlt9XB91qene28o1_400-100x100.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n<blockquote>\n<p>The Museum of Modern Art in New York has acquired <a target=\"new\" href=\"http:\/\/moma.org\/explore\/inside_out\/2011\/01\/24\/digital-fonts-23-new-faces-in-moma-s-collection\">23 digital typefaces<\/a> for their design and architecture collection. Included are five Emigre font families: Jeffery Keedy&rsquo;s <a href=\"http:\/\/www.emigre.com\/EF.php?fid=100\">Keedy Sans<\/a>, Jonathan Barnbrook&rsquo;s <a href=\"http:\/\/www.emigre.com\/EF.php?fid=104\">Mason Serif<\/a>, Barry Deck&rsquo;s <a href=\"http:\/\/www.emigre.com\/EF.php?fid=125\">Template Gothic<\/a>, Zuzana Licko&rsquo;s <a href=\"http:\/\/www.emigre.com\/EF.php?fid=101\">Oakland<\/a> (renamed <a href=\"http:\/\/www.emigre.com\/EF.php?fid=101\">Lo-Res<\/a> in 2001), and P. Scott Makela&rsquo;s <a href=\"http:\/\/www.emigre.com\/EF.php?fid=88\">Dead History<\/a>.<\/p>\n<p>This acquisition marks the beginning of MoMA&rsquo;s effort to built a  collection of typefaces documenting milestone designs covering the  twentieth century. Working backwards they have started with the digital  era.<\/p>\n<p>MoMA based its selection on criteria ranging from aesthetics to  historical relevancy, from functionality to social significance, from  technological ingenuity to economy. &ldquo;Several of the fonts we chose  visually reflect very closely the time and place in which they were  made,&rdquo; writes Senior Curator Paola Antonelli, &ldquo;they represent a specific  era in the digital revolution&ndash;the early 1990s, when digital typography  was coming into its own. They were chosen based upon their importance  to cultural history as well as their experimental aesthetics.&rdquo;<\/p>\n<p>We&rsquo;re proud to be a part of this exciting new museum collection, and  we&rsquo;re honored to find ourselves in the company of type designers we much  admire such as Matthew Carter, Jonathan Hoefler, and Erik Spiekermann.<\/p>\n<p>The typefaces will be on display at MoMA New York as part of the exhibit <a target=\"new\" href=\"http:\/\/www.moma.org\/visit\/calendar\/exhibitions\/1152\"><em>Standard Deviations<\/em><\/a> which will open March 2, 2011.<\/p>\n<\/blockquote>\n<p>(via <a href=\"http:\/\/www.emigre.com\/EmigreNews.php?id=26#.TnNdEvBAQ8I.tumblr\">Emigre Typefaces Enter MoMA Design Collection<\/a>)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Museum of Modern Art in New York has acquired 23 digital typefaces for their design and architecture collection. Included are five Emigre font families: Jeffery Keedy&rsquo;s Keedy Sans, Jonathan Barnbrook&rsquo;s Mason Serif, Barry Deck&rsquo;s Template Gothic, Zuzana Licko&rsquo;s Oakland (renamed Lo-Res in 2001), and P. Scott Makela&rsquo;s Dead History. This acquisition marks the beginning [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"gallery","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[],"tags":[1539],"class_list":["post-37973","post","type-post","status-publish","format-gallery","hentry","tag-emergent-digital-practices","post_format-post-format-gallery"],"jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/p6PWot-9St","jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/37973","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/comments?post=37973"}],"version-history":[{"count":1,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/37973\/revisions"}],"predecessor-version":[{"id":37975,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/37973\/revisions\/37975"}],"wp:attachment":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/media?parent=37973"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/categories?post=37973"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/tags?post=37973"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}