Notes

Institute staff can obtain most of these references from the Education Division. Those marked with a bullet (•) are especially recommended.

1. Melora McDermott-Lewis, “Through Their Eyes: Novices and Advanced Amateurs,” in The Denver Art Museum Interpretive Project (Denver Art Museum, 1990), p. 12

2. Marilyn G. Hood, “Staying Away: Why People Choose Not to Visit Museums,” Museum News 61, no. 4 (1983): 51.

3. See McDermott-Lewis, “Through Their Eyes: Novices and Advanced Amateurs.”

4. Paulette M. McManus, “Oh, Yes, They Do: How Museum Visitors Read Labels and Interact with Exhibit Texts,” Curator 32, no. 3 (1989): 175.

5. Douglas Worts, “In Search of Meaning: ‘Reflexive Practice’ and Museums,” 1991 Program Sourcebook (Washington, D.C.: American Association of Museums, 1991), p. 328; Mihaly Csikszentmihalyi, Beyond Boredom and Anxiety (San Francisco: Jossey-Bass Publishers, 1985), pp.44, 191-96.

6. “An Evaluation of Existing MIA Object Labels in Preparation for Reinstallation and Relabeling” (Report prepared by the Education Division of The Minneapolis Institute of Arts, 1992); focus group interviews conducted by the Denver Art Museum, l986.

7. All the information on memory, attention, and barriers to learning is contained on pages 7-26 of S. Jay Samuels, “Some Essential Label-Writing Considerations for Museum Professionals: A Review of How People Learn and Remember, and What Kinds of Texts Are Most Effective” (Paper commissioned by The Minneapolis Institute of Arts, 1~88).

8. Mihaly Csikszentmihalyi and Rick E. Robinson, The Art of Seeing: An Interpretation of the Aesthetic Encounter (Malibu, Calif.: The J. Paul Getty Museum and the Getty Center for Education in the Arts, i990), pp. 27-71.

9. McDermott-Lewis, “Through Their Eyes: Novices and Advanced Amateurs,” pp. 12-13; Melora McDermott, “Through Their Eyes: What Novices Value in Art Experiences,” 1988 Program Sourcebook (Washington, D.C.: American Association of Museums, 1988), p. 9; Douglas Worts, “Art Museums and Their Visitors: An Assessment of the Role of Self-Identity in the Visitor Experience” (Paper presented at the Museum Studies Colloquium, University of Toronto, l990), pp. 2, 6

10. Marlene Chambers, “To Create Discovery,” Museum News 68, no. 3 (1989): 41-44.

11. McDermott-Lewis, “Through Their Eyes: Novices and Advanced Amateurs,” pp. 23-24.

12. Stephen Bitgood et al., Effects of Label Characteristics on Visitor Behavior in Museums, Psychology Institute, Jacksonville State University); Technical Report
no. 86-55 (Jacksonville, Ala., 1986), p. 7.

13. For a comprehensive overview of evaluation techniques and their uses, see C. G. Screven, “Uses of Evaluation before, during, and after Exhibit Design,” ILVS Review: A ]ournal of Visitor Behavior 1, no. 2 [Spring 1990): 36-66.

14. See Beverly Serrell, Making Exhibit Labels: A Step-by-Step Guide (Nashville, Tenn.: American Association for State and Local History, 1983), pp. 64-65; idem, “Formative Evaluation of Signs” (Paper presented at the American Association of Zoological Parks and Aquariums Regional Proceedings, 1989); Jeffrey K. Smith and Lisa F. Wolf, “Labeling Study Summary” (Office of Education Research and Evaluation, Metropolitan Museum of Art, New York, l991), pp. 7-9; “A Multidisciplinary Assessment of the State of the Art of Signage for Blind and Low Vision Persons” (Report prepared for the Architectural and Transportation Barriers Compliance Board, Washington, D.C., 1985), p. 16.

Bibliography

Aesthetics

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•  Csikszentmihalyi, M., and R. E. Robinson. The Art of Seeing: An Interpretation of the
Aesthetic Encounter. Malibu, Calif.: The J. Paul Getty Museum and the Getty Center for Education in the Arts, 1990.

Myers, S. “In Search of Aesthetic Experience: Are Museums Getting in the Way,” The
Journal of Aesthetic Education 22, no. 2 (Summer 1988): 102-7.

Labels

Bitgood, S. Cuing Visitors to Read Exhibit Labels: Effects of Handouts That Ask
Questions. Jacksonville, Ala.: Center for Social Design, 1987.

Bitgood, S. “Deadly Sins Revisited: A Review of the Exhibit Label Literature.” Visitor
Behavior 4, no. 3 (1989): 4-11.

Bitgood, S. Knowing When Exhibit Labels Work: A Standardized Guide for Evaluating
and Improving Labels. Psychology institute, Jacksonville State University, Technical Report no. 87-90. Jacksonville, Ala., 1987.

Bitgood, S., T. Finlay, and R. Korn. “Bibliography: Exhibit Signs, Labels, and Graphics.”
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Bitgood, S., T. Einlay, and D. Wohr. Design and Evaluation of Exhibit Labels.
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Bitgood, S., and G. Gregg. “A Brief Review of the Research on Signs and Labels:
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Bitgood, S., G. Nichols, M. Pierce, P. Conroy, and D. Patterson. The Effects of Label
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Bitgood, S., G. Nichols, M. Pierce, and D. Patterson. The Effects of Instructional Signs on
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McManus, P. M. “Oh, Yes, They Do: How Museum Visitors Read Labels and
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McManus, P. M. “Watch Your Language! People Do Read Labels.” ILVS Review:
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The Minneapolis Institute of Arts. “An Evaluation of Existing MIA
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Monson, D. “Viewer Response as an Influence on Content, Organization, and Linguistic
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“A Multidisciplinary Assessment of the State of the Art of Signage for Blind and Low
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•   Rand, J. “Fish Stories That Hook Readers: Interpretive Graphics at the Monterey Bay
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Rand, J. “Monterey Bay Aquarium Statement of Purpose: Institutional Graphics and
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Raymenton, H. K. “A Visitor’s View of Museum Labeling.” The Museum News,
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•   Samuels, S. J. “Some Essential Label-Writing Considerations for Museum Professionals: A
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Screven, C. G. “Comment motiver les visiteurs à la lecture des ètiquettes.” Publics et
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•   Screven, C. C. “Motivating Visitors to Read Labels.” ILVS Review: A Journal of Visitor
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Serrell, B. “Formative Evaluation of Signs.” In American Association of Zoological Parks
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Serrell, B. “Making Better Layered Labels.” In American Association of Zoological Parks
and Aquariums 1988 Annual Conference Proceedings. Oglebay Park, W. Va.:
aazpa.

•   Serrell, B. Making Exhibit Labels: A Step-by-Step Guide. Nashville, Tenn.: American
Association for State and Local History, 1983.

Smith, J. K., and L. F. Wolf. “Labeling Study Summary.” Office of Education Research
and Evaluation, Metropolitan Museum of Art, New York, 1991.

Temme, J. E. V. “Amount and Kind of Information in Museums: Its Effects on Visitors’
Satisfaction and Appreciation of Art.” Visual Arts Research 18, no. 2 (1992):
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Thompson, D., and S. Bitgood. “The Effects of Sign Length, Letter Size, and Proximity on
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Studies Conference. Jacksonville, Ala.: Center for Social Design, 1988.

•   Weiner, G. “Why Johnny Can't Read Labels.” Curator 6, no. 2 (1963): 143-56.

Witteborg, L. Good Show! A Practical Guide for Temporary Exhibitions. Washington,
D.C.: Smithsonian Institution Traveling Exhibition Service, 1981.

Learning
 
Black, L. A. “Applying Learning Theory in the Development of a Museum Learning
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Chambers, M. “To Create Discovery.” Museum News 68, no. 3 (1989): 41-44.
Csikszentmihalyi, M. Beyond Boredom and Anxiety. San Francisco: Jossey-Bass Publishers, 1985.

Droba, D. D. “Effect of Printed Information on Memory for Pictures.” The Museum
News, September 1, l929, pp. 6-8.

Erdelyi, M. H., and J. Kleinbard. “Has Ebbinghaus Decayed with Time? The Growth of
Recall (Hypermnesia) over Days.” Journal of Experimental Psychology: Human
Learning and Memory 4, no. 4 (1978): 275-89.

Housen, A. “The Eye of the Beholder: Measuring Aesthetic Development.” Ed.D.diss.,
Harvard University, 1983.

McLachlan, J. F. C., and D. E. Hunt. “Differential Effects of Discovery Learning as a
Function of Student Conceptual Level.” Canadian Journal of Behavioural Science
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Salome, R. A. “Research on Perceiving and Responding to Art.” Translations from Theory
to Practice 1, no. 2 (1991).

Serrell, B. "Learning Styles and Museum Visitors." ILVS Review: A Journal of Visitor Behavior 2, no.1 (1991): 137-39.

Wittlin, A. S. “Hazards of Communication by Exhibits.” Curator 14, no. 2
(1971): 138-50.

Visitors

Beer, V. “Great Expectations: Do Museums Know What Visitors Are Doing?” Curator
30, no. 3 (1987): 2o6-13.

Benefield, A., S. Bitgood, and H. Shettel, eds, Visitor Studies: Theory, Research, and
Practice, Vol. 4. Collected papers from the 1991 Visitor Studies Conference.
Jacksonville, Ala.: Center for Social Design, 1992.

Bitgood, S., A. Benefield, and D. Patterson, eds. Visitor Studies: Theory, Research, and
Practice. Vol. 2. Proceedings of the 1989 Visitor Studies Conference. Jacksonville,
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Bitgood, S., A. Benefield, and D. Patterson, eds. Visitor Studies: Theory, Research, and
Practice. Vol. 3. Proceedings of the 1990 Visitor Studies Conference. Jacksonville, Ala.: Center for Social Design, 1991.

Bitgood, S., J. T. Roper, Jr., and A. Benefield, eds. Visitor Studies-1988: Theory, Research,
and Practice. Proceedings of the First Annual Visitor Studies Conference. Jacksonville, Ala.: Center for Social Design, 1988.

Eisner, E. W., and S. M. Dobbs. “Silent Pedagogy: How Museums Help Visitors
Experience Exhibitions.” Paper presented at the annual meeting of the American
Association of Museums, San Francisco, 1987.

•   Falk, J. H., and L. D. Dierking. The Museum Experience. Washington, D.C.: Whalesback
Books, 1992.

•   Hood, M. “Staying Away: Why People Choose Not to Visit Museums.” Museum News
61, no. 4 (1983): 50-57.

•   McDermott, M. “Through Their Eyes: What Novices Value in Art Experiences.” 1988
Program Sourcebook. Washington, D.C.: American Association of Museums,1988.

•   McDermott-Lewis, M., et al. The Denver Art Museum Interpretive Project. Denver Art
Museum, 1990.

McManus, P. M. “Do You Get My Meaning? Perception, Ambiguity, and the Museum Visitor.” ILVS Review: A Journal of Visitor Behavior 1, no. 1 (1988): 62-75.

Silverman, L. “Tearing Down Walls.” Museum News 70, no. 6 (1991): 62-64.

Worts, D. “Art Museums and Their Visitors: An Assessment of the Role of Self-Identity in
the Visitor Experience.” Paper presented at the Museum Studies Colloquium,
University of Toronto, 1990.

Worts, D. “ln Search of Meaning: ‘Reflexive Practice’ and Museums.” 1991 Program
Sourcebook. Washington, D.C.: American Association of Museums, 1991.

•   Wurman, R. S. Information Anxiety. New York: Doubleday, 1989.

Writing

Chambers, M. “Is There Anyone Out There?: Audience and Communication.” Museum
News 62, no.5 (1984): 47-54.

Coxall, H. “Museum Text: Accessibility and Relevance.” Journal of Education in
Museums 12 (1992): 8-9.

Flesch, R. The Art of Readable Writing. 1949. Reprint. New York: Collier Books, 1962.
 
Graves, R., and A. Hodge. The Reader over Your Shoulder: A Handbook for Writers of
English Prose. 2d ed. 1947. Reprint. New York: Random House, 1979.

Hartley, J. “Information Mapping: A Critique.” Information Design Journal 3, no. 1
(1982): 51-58.

•   Lanham, R. A. Revising Business Prose. 3d ed. New York: Macmillian, 1992.

Rudin, E. B. “A Sign for All Seasons: From Writer’s Clipboard to Zoo Exhibit.” Curator
22, no. 4 (1979): 303-9.

Serrell, B. “A Plan for Writing Interpretive Signs.” Curator 22, no. 4 (1979): 299-302.

Turner, R. M. “Gender-Related Considerations for Developing the Text of Art
Instructional Materials.” Studies in Art Education 32, no. 1 (199o): 55-64.

•   Yellis, K. “Getting It Down on Paper.” The Journal of Museum Education: Roundtable
Reports 10, no. 2 (1985): 18-22.

•   Zinsser, W. On Writing Well: An Informal Guide to Writing Nonfiction. 4th ed. New
York: Harper & Row, 1990.

Zinsser, W. Writing to Learn. New York: Harper & Row, 1988.