THOUGHTS ON TEXTS
The texts need to be planned thoughtfully and systematically for the whole exhibition. As we are planning an exhibition, we develop an outline that identifies all of the texts and graphic elements. Artworks and artifacts can be organized within the outline for the texts
This is the nomenclature we typically use to identify levels of texts:
A=Main text (in a very large show AA)
B=Sections (in a very large show A)
C=Topics or groupings within a section
D=”Tombstones”
E=Tombstone + extended information
An exhibition, such as our project, might have several levels of texts:
1. Title (and sub-title, if there is one)
Sample: Home and Family/Memories and Perceptions
2. Introductory text (A)
Outline the conceptual (philosophical) approach and organizational points of the exhibition.
3. Donors/sponsors and credits
Typical text would read:
This exhibition (or title) has been made possible by the generous support of:
names of sponsors
Sometimes this is at the bottom of the intro text. But if there are many sponsors, it is better to be separate.
This could also be the place to discuss the project.
This exhibition has been developed as part of the “Small Museums of Russia Project” organized by the State Russian Museum. This project has (talk about what it has done). Over its ten-year history, this project has been supported by the Ministry of Culture, Soros, Fund for Art and Culture, etc.
List the museums.
List key people who played an exceptional role
[If the State Russian Museum allows credits]
If credits for individuals are not permissible, at least list all the museums that have participated and made loans.
4. Section texts (B)
Outline the theme and concept for each of the galleries (rooms).
For this exhibition, one text per gallery would be good.
5. Sub-texts (C)
Some galleries may have topical texts.
This might include:
Symbolism of bird and nest (Room 1)
Cradles (Room 3)
Serf artists (Room 8)
6. Object labels + extended labels
All artworks and artifacts should have “tombstones” (D)
When we know more about an artwork, and especially when we can connect it to the concept, this information should be included in an extended labels (E)
7. Information about the museums. The gallery in the Hallway (10) will need an intro text (B, possibly A level) about the Small Museums Project and how all these museums have participated.
It might also have a map locating all of the museums.
And there should be information about each museum (or town and museum) (C or possibly B level).
Once the texts are outlined (or at least the levels have been identified),
we can then begin to describe their typographical size (A is bigger than B, B is bigger than C, etc.). And we can determine if changes in typefaces can be used to identify different purposes for the texts.
We can also ask our museum clients to write samples for each level and we can begin to do sample graphic design. We then print them out full size and ask all the decision makers to look at them, both for graphic design and for writing style. Once the samples are approved, the curators have to write to style and space. And, the design of the exhibition has to leave appropriate space for all the planned texts.
Try to think of the texts as poetry—not literally rhymed lines, but rather the essence of what needs to be communicated. How simple, yet compelling can the texts be made? Are the texts accessible? Do they engage the visitor? What is the quality of the writing? Does it stylistically fit the exhibition? Are the texts so interesting and informative that visitors will want to read all of them?