Pentagram's identity for the MoMA in Nyc takes a unique approach in displaying the artists work alongside the logo of the museum. This technique is useful in enticing the public to visit the museum who don't have prior knowledge on what to expect. The white back ground allows for the art work to stand out on the poster. Furthermore the stark white back ground against the bold black font of MoMA's typeface stands out within context. This is important in engaging the viewer from a distance and increasing the museums exposure in the public environment.
In terms of this brief this approach can be taken by displaying some of the artwork created by the students and displaying them out in the public. This approach could potentially draw more visitors as the problem with independent art exhibitions is that there are no big, recognisable names such as MoMA, Tate Modern that can help and establish the exhibitions credibility. By showcasing the work, it could interest visitors in artwork that they may not have prior knowledge about.
Despite not being an art exhibition, dn&co's take on street level branding is an effective way to use the architecture of the building to advertise. The idea of having large lit-up ceiling signage favours the large amount of windows Bank House has. The advantage of this style is that it works around any limitations of placing the branding on the actual building. Furthermore because of its unique placement, the viewer is forced to look into the space of the signage, possibly drawing interest.
Pentagram's work on the identity and seasonal campaign for the Atlantic theater company in New York City uses a unique form that is versatile enough to become an theatre's identifier and a visual layout for their ad campaign. This constant enforcement of the form in the branding allows for Atlantic to get away with simply showing the form as a sign as shown below.
In terms of this brief, there is an opportunity to pick out a unique yet recognisable form from a bank note design and transform it into the identity of the exhibition. Because the form is from the existing bank note design, the identifier is already ever present, increasing the exposure of the exhibition. However this can only happen if the advertising for the exhibition itself is prevalent enough to make the connection.
This use of a versatile form as a identity is also seen in Experimental Jetset's redesign of Whitney Museum's identity. Unlike the form associated with the Atlantic Theatre Company, this form is discreet enough to be used alongside the artwork showcased in the museum. By doing so, Experimental Jetset's solution incorporates elements of MoMA's and Atlantic Theatre's identity that make them successful. Furthermore because of the form's design, it is able to be used as a way finding system within the museum.
This in turn creates consistency throughout the entirety of Whitney's identity.
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