Re: Writing Level for Gallery Text
Juline, I'll join you on that soap box!Another way to talk about the value of concise, accessible labels is that they create the possibility for closer consideration of the object in a social context. Labels are not bite-sized portions of a master's thesis; they're provocations and context for exploration in a public setting. A good label will tell you about the object. A great label will make you keep looking at the object after you've read the text.If most of your visitors are coming with a class or with friends, do you want to make it easy for them to share their reflections and questions in conversation? Accessible labels support this kind of social engagement. Likewise, accessible labels make it easier for adults to share the complex ideas in the label copy with accompanying children. A common art museum scene is when a child asks an adult a question about an object and the adult gives up on answering because the label copy is too cumbersome to both understand and interpret.Beyond setting standards for length, readability, etc., having a solid interpretive process that supports the production of concise, accessible labels is vital. I'm happy to talk offline about how you might consider your label overhaul.Best of luck in your label review, Sarah!VerónicaVerónica E. Betancourt, Ph.D.Museum Educator, Interpreter & Strategistshe/they/ellaShare your ideas and questions with meOn Thu, Oct 24, 2024 at 12:52?PM Georganne Sisco Georganne.Sisco@arkansas.gov [talk at museum-ed.org] <talk@museum-ed.org> wrote:
Georganne Sisco reacted to your message:
From: talk@museum-ed.org <talk@museum-ed.org> on behalf of Juline Chevalier julineachevalier@gmail.com [talk at museum-ed.org] <talk@museum-ed.org>
Sent: Thursday, October 24, 2024 4:22:52 PM
To: talk at museum-ed.org <talk@museum-ed.org>
Subject: Re: [talk] Writing Level for Gallery TextIt's not about "dumbing down," it's about "opening up." Full credit to Nina Simon who made that statement in a talk I heard her give in Minnesota.
Writing labels in plain, clear language make them easy for ALL to understand. Even if someone has a PHD in mineralogy and are objectively very intelligent and an expert in their field, doesn't mean they feel comfortable in an art museum or familiar with art history speak.
You can communicate complex ideas in easy-to-read language - it just takes longer to write, edit, rewrite, revise, test with visitors, etc.
One of the BEST things you can do is print a large copy of your label, and do testing with visitors. Ask folks to simply read the label out loud and note when they stop, stumble etc. Ask what is unclear, and what they would tell someone else the label is about.
It takes A LOT of work to w rite concise, interesting, relevant, and useful gallery text.
And the less you write, the more people will read. If you offer too much text, they will not finish, or they will not even start.
*climbs down off soap-box*
_________________________________________Juline A. Chevalier, Ed.M.she/her/hers
On Wed, Oct 23, 2024 at 12:35?PM Sarah Martin Sarah.Martin@nd.edu [talk at museum-ed.org] <ta lk@museum-ed.org> wrote:
Hello all,
We're reviewing all the text we produce for in-gallery consumption to make it as accessible as possible. We're going back and forth, looking at different readability formulas, and are getting overwhelmed. We're also trying to anticipate any pushback we might get from colleagues who view writing to a specific grade level as "dumbing down" content. We're an academic museum, so we are gathering as much information as possible to back up our recommendations.
We'd love to hear what formulas folks use to help make their in-gallery text more accessible and how people have dealt with the "dumbing down" argument. We're also curious if anyone is using AI to help with this type of writing.
We look forward to hearing from the fantastic Museum Ed brain trust!
Thanks in advance!Sarah
Sarah Martin (she/her/hers)Curator of Education, Public Programs
Raclin Murphy Museum of Art
University of Notre Dame
----------------------------------The Raclin Murphy Museum of Art acknowledges our presence on the traditional land of the Potawatomi peoples, the Miami peoples, and many people from other Indigenous nations that now call this land home. As an initial step towards reconciliation and out of a desire for a brighter and more equitable future, the Museum is committed to amplifying Indigenous voices and building conversation and collaboration through the hosting and support of Indigenous artists, art forms, and communities.----------------------------------
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