Graphic Design from the Collection, May 14–October 23, 2016, SFMOMA, Floor 6
The last time I visited SFMOMA was 3 years ago, just before they closed for a major expansion of the museum. I worked on an interface that had just won an interaction design award several months prior to my visit and was on a designer’s high, daydreaming as I walked through the museum, wondering, would a modern art museum, like SFMOMA ever feature the design of something like an interface? Maybe I could be part of that history, contributing to an innovative interface or at least one little icon.
Amused by the idea that one day there could be an exhibition detailing the mode of interface style throughout the years, I imagined the possible exhibits celebrating a functional, digital aesthetic.
Consenting Affordances: Web vs. Desktop and their Lovechild, Mobile
Wistful Analog: Skeuomorphism and the Rise of Flatland
Extravagant Limitations: Evolution of the Application Icon
Window Shopping: The Armors of Netscape, Explorer, Firefox, and Chrome
Could something like a 16x16 icon be on display in a modern art museum? Would something so tiny and digital be considered too silly and insignificant to rest under the same roof as a Rauschenberg, O'Keefe, or Warhol? With the awakening of a new SFMOMA, the interface daydreaming stopped and revealed a new reality: the recognition of an artform whose infancy rivals that of Pop Art but until now has yet to be collected, to tell a new story, found on floor 6 in the exhibit: Typeface to Interface.
Typeface to Interface.
I was reunited with those interface exhibition dreams during the opening of the overwhelmingly airy and far-too-much-to-see-in-a-day new SFMOMA. The 170,000 square feet of exhibition space turns the museum into one of the largest art museums in the United States (larger than the New York MOMA and The Getty Center in Los Angeles) making SFMOMA one of the largest museums in the world specifically focusing on modern and contemporary art.
The exhibit takes selected work from the museum's permanent graphic design collection (spanning as far back as 1950) and joins it with examples of graphic design that has shaped the development of the interface – our modern day means of visual communication. Posters, visual communication systems, and annual reports are interwoven with a variety of technology platforms: the desktop interface, the stylus, and the mobile touchscreen – the tools and methods we’ve used to communicate via the interface. Underlying all of this are the foundations of visual design and as a result an understanding of human behavior.
With the awakening of a new SFMOMA, the interface daydreaming stopped and revealed a new reality: the recognition of an artform whose infancy rivals that of Pop Art but until now has yet to be collected, to tell a new story, found on floor 6 in the exhibit: Typeface to Interface.