Times New Roman
Christian Jeppsson
30.11.2013 - 11.01.2014
#1: I want a Times New Roman in the streets but a Wingdings in the sheets.
Goldman Sachs Elevator Twitter feed

Typefaces, much like people, have distinct personalities. While designed to present sober and factual news printed in a newspaper, Times New Roman readily translates into the ubiquitous, suit-wearing businessman roaming Wall Street, coat and briefcase in one hand and a Bluetooth in his ear. This personality of a typeface is somewhat like a visual, yet invisible, ergonomic; integrated within the unassuming ligatures, serifs, and spurs of every letter.
Because of this personality, a typeface is more than just a tool for communication, it incorporates with the inherent meaning of the text and carry information on a formal level as well as in its physical organization as writing.
Times New Roman is nothing you would use to impress anyone graphically, it is a default of the evolution of typefaces and a standard preset of nearly every new format or word processor to see the light of day. Though its success and longevity can be questioned on whether to be based on quality or merely on its ubiquity, the fact that it has been so standardized, have granted it a certain invisibility.
Times New Roman is not a font choice so much as the absence of a font choice, like the blackness of deep space is not a color. To look at Times New Roman is to gaze into the void.

Christian Jeppsson (b. 1980 in Gothenburg, lives and works in Copenhagen) Graduated from The Royal Academy of Fine Arts, Copenhagen. Recent exhibitions include; Dear Sirs, IMO, 2013, Copenhagen; 24 Spaces, Malmö Konsthall, 2013, Malmö; Conference #2, Autocenter, 2013, Berlin; Sad for something that never happened, Toves Galleri, 2012, Copenhagen; Un_curate_able, FATform, 2012, Amsterdam; OilOnWaterCalmingEffect, 2012, Stavanger.

  Christian Jeppsson, Toves, København