Let me just pick one of John Handley's comments to respond to:
>
>    However, I also often see many historical or object focused
>    exhibits where the labels focus only on casting the various
>    artifacts (whether works of art or objects) soley in the direct
>    historical or cultural context.  The use of labels here tends to
>    stay away form artistic or aesethetic interpretation, as if the
>    object on display requires justification for being presented on a
>    historical level only.  I understand this difference in approach
>    to some degree (cultural context is important), but I also get
>    weary of justifying the use of well rounded object labels in
>    exhibitions, while art exhibitions seem to escape this scrutiny on
>    a regular basis.
>
You suggest,John, that all object labels in historical museums
discuss all aspects of the object shown?  I cannot agree with that.  What
I see as the beauty of historical objects is their ability to be used in
a variety of contexts, for a variety of interpretations.  There are truly
times in history exhibits when the aesthetics of a piece is simply not
relevant.  My take on "average" visitors is that you must present a
succinct message and every bit of written text must support that message.
Extraneous comments about construction techniques, marketing strategies
for a particular object, or even its aesthetic merit, can often be con-
fusing or irrelevant.  Some of these aspects of the object are best re-
served for another exhibit on another subject.  I believe that docents or
gallery interpreters can learn about objects that interest them, or that
visitors are likely to be interested in--they can present the extraneous
matter, but then have the ability, unlike a label, to bring the discussion
back to the main point.  An exhibit is more than its labels--design
elements, context, and juxtaposition of objects also send messages.  Let's
not clutter up the issue.

Claudia Nicholson
Curator of Collections
South Dakota State Historical Society, Pierre
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