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Three weeks ago the Metropolitan Museum of Art—known colloquially and now formally as "the Met"—unveiled a new logo and identity system designed by the international firm Wolff Olins. The response from critics was swift and fierce. Influential typographer Erik Spiekermann harped on the logo's proportions and "forced curvy shapes"; New York Times critic Michael Kimmelman accused the museum of pandering to younger audiences; and Justin Davidson, of New York magazine, compared it to a typographic bus crash. Ouch.
It’s a familiar scenario with logo and identity reveals—the images get passed around the Internet, critics weigh in, and the peanut gallery follows. Such was the case with Google, Airbnb, Hillary Clinton's campaign logo, the Olympics, and the rebrand that (arguably) sparked incendiary "logogate" culture: Gap.
Critics are everywhere. I like The Met logo a lot – it's classic and classy.