Exhibit Labels: An Interpretive Approach by Beverly Serrell

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By Beverly Serrell

Beverly Serrell offers the reader with first-class directions at the technique of convey label making plans, writing, layout, and creation. one of many museum field’s prime specialists and label writers, Serrell’s 1996 version of express Labels has been a typical within the box considering its preliminary booklet. This re-creation not just offers specialist advice at the paintings of label writing for varied audiences and explores the theoretical and interpretive issues of putting labels inside an exhibition, it additionally positive aspects all new case experiences and pictures and strategies approximately interpretation in electronic media. convey Labels: An Interpretive process is an important reference instrument for all museum pros.

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A Desert Grave” was located at the end of a short trail from the parking area. It was a quiet, sunny day, with only a slight breeze. I read the story about the pioneers and how the wife had died and was buried here. I looked around and pondered the stark beauty of the desert and what it might have been like to live out here, and I thought about the struggles the family went through. Years later, on another visit to Big Bend, I drove past the same place, and I stopped again to visit the desert gravesite.

TYPES OF LABELS IN EXHIBITIONS ■■ ■■ ■■ ■■ ■■ ■■ ■■ 37  o not try to make generalizations in captions based on a single object or D example. Keep information specific to what visitors are experiencing firsthand. Vary the length (number of words), depending on the intrinsic value of the object being captioned. , biggest, most famous) to the majority of the visitors or that support the big idea best deserve longer captions. Do not make labels all the same length. Make captions short enough so that most visitors, if they choose to read, will be able to read the whole label.

Labels that support the caption information, such as subgroup or area labels, should be close by, so that visitors can start with the specific caption or ID, then jump to the broader context, and vice versa. GUIDELINES FOR CAPTIONS Below are some specific guidelines that will help make museum captions work effectively. Many of them are discussed at greater length in other chapters as well: ■■ ■■ ■■ ■■ ■■ S tart with visual, concrete information—what visitors can see. Work from the specific to the general, not the other way around.

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