Order was always wishful thinking for me. For sixty years I have produced disorder in files, correspondence, and books. In my work, however, I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities. The formal organization of the surface by means of the grid, a knowledge of the rules that govern legibility—line length, word and letter spacing, and so on—and the meaningful use of color are among the tools a designer must master in order to complete his or her task in a rational and economic matter. — Josef Müller-Brockmann
THE SWISS GRID—an exhibition that “explores the development and impact of the International Typographic Style”—is now in its final weeks at Poster House.*
See link below for details.
Through February 14.
119 West 23rd Street, New York City.
The Swiss Grid, Poster House, New York, February 27, 2020–February 14, 2021, from top: Josef Müller-Brockmann, Musica Viva, 1958, Tonhalle-Gesellschaft, Zürich; Armin Hofmann, Junge Holländische Bildhauer, 1960, Kunsthalle Basel; Robert Büchler, Typographie, 1962, Gewerbemuseum Basel, unmodified and modified; Richard Paul Lohse, Ausstellung Musikinstrumente, 1962, Kunstgewerbemuseum, Zürich; Armin Hofmann, Stadt Theater Basel, circa 1963–1967; Emil Ruder, Berlin, 1963, Gewerbemuseum Basel; Armin Hofmann, Giselle, 1959, Basler Freilichtspiele. Images courtesy and © the artists, their estates, and Poster House.