ABSTRACT This essay examines the exhibition of dinosaurs at the American Museum of Natural History during the first two decades of the twentieth century. Dinosaurs provide an especially illuminating lens through which to view the history of museum display practices for two reasons: they made for remarkably spectacular exhibits; and they rested on contested theories about the anatomy, life history, and behavior of long-extinct animals to which curators had no direct observational access. The (...) American Museum sought to capitalize on the popularity of dinosaurs while mitigating the risks of mounting an overtly speculative display by fashioning them into a kind of mixed-media installation made of several elements, including fossilized bone, shellac, iron, and plaster. The resulting sculptures provided visitors with a vivid and lifelike imaginative experience. At the same time, curators, who were anxious to downplay the speculative nature of mounted dinosaurs, drew systematic attention to the material connection that tied individual pieces of fossilized bone to the actual past. Freestanding dinosaurs can therefore be read to have functioned as iconic sculptures that self-consciously advertised their indexical content. (shrink)

ArgumentIn the 1920s and 1930s, the growing importance of habitat dioramas at the American Museum of Natural History forced staff members to reconsider what counted as scientific practice and knowledge. Exhibit-makers pressed for more scientific authority, citing their extensive and direct observations of nature in the field. The museum's curators, concerned about their own eroding status, dismissed this bid for authority, declaring that older traditions of lay observation were no longer legitimate. By the 1940s, changes (...) inside and outside the museum had destroyed any lingering notions that what exhibit-makers garnered from observing raw materials constituted scientific knowledge. (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during (...) the summer of 2000, evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

Accompanying an exhibition organized by the Whitney Museum of American Art, New York, this book is the most comprehensive catalogue on the work of this internationally recognized architectural firm.

This article follows shorebirds—migratory animals that have gone from game to nongame animals over the course of the past century in North America—as a way to track modern field biology, bureaucratic institutions, and the valuation of wildlife. Doing so allows me to make interrelated arguments about the history of wildlife management and science. The first is to note the endurance of observation-based natural history methods in field biology over the long twentieth century and the importance of these (...) methods for the persistent contribution of amateurs. The second major line of argument advances the historical significance of scientific, government bureaucracies as sites of natural knowledge production. Historians of biology and ecology have tended to stress scientists with institutional homes in universities, museums, and at land-grant field stations—particularly as various forms of field biology became professionalized over the twentieth century. In contrast, migratory animals like shorebirds, whether under the auspices of the US Biological Survey or the contemporary Fish and Wildlife Service, were primarily studied and conserved by biologists in bureaucratic agencies. Mid- to low-level bureaucrats, along with avocational birders, have mainly been responsible for developing what we know about shorebird migration, behavior, and life history. And third, shorebirds foreground the importance of bureaucratic context for the valuation of nature, from their economic value to agriculture in the early twentieth century to their value as rare, endangered species in the twentyfirst. (shrink)

The natural history museum is a place where the line between "high" and "low" culture effectively vanishes--where our awe of nature, our taste for the bizarre, and our thirst for knowledge all blend happily together. But as Stephen Asma shows in Stuffed Animals and Pickled Heads, there is more going on in these great institutions than just smart fun. Asma takes us on a wide-ranging tour of natural history museums in New York and Chicago, London (...) and Paris, interviewing curators, scientists, and exhibit designers, and providing a wealth of fascinating observations. We learn how the first museums were little more than high-toned side shows, with such garish exhibits as the pickled head of Peter the Great's lover. In contrast, today's museums are hot-beds of serious science, funding major research in such fields as anthropology and archaeology. "Rich in detail, lucid explanation, telling anecdotes, and fascinating characters.... Asma has rendered a fascinating and credible account of how natural history museums are conceived and presented. It's the kind of book that will not only engage a wide and diverse readership, but it should, best of all, send them flocking to see how we look at nature and ourselves in those fabulous legacies of the curiosity cabinet."--The Boston Herald. (shrink)

Women educators played an essential role in transforming public museums that had been focused on collections and research into effective educational and informational sites that engaged broad publics. Three significant innovators were Delia Griffin of St. Johnsbury Museum in Vermont who emphasized hands-on learning, Anna Billings Gallup who shaped a distinctive model museum for children in Brooklyn and Laura Bragg of the Charleston Museum who established strong collaboration with the local public schools. Joining museum curatorial staffs (...) and professional associations that were largely male, these women educators and their peers typically provided pedagogical insights and teaching skills that enabled them to work effectively with school systems, teachers, pupils and parents. Genuinely interested in natural science, they shaped careers which included opportunities to engage with science, provided a considerable degree of autonomy and enabled them to experiment with hands-on learning. They built networks of museum educators and influenced the young American Association of Museums. Women museum educators created a bridge between semi-public natural history establishments for collection, preservation and scientific research and an active audience of teachers, pupils, visitors and patrons. Their efforts transformed museums into sites for education and broad public access to science in the early 20th century. (shrink)

"--Joel Cracraft, American Museum of Natural History "This is not the potted history that one usually finds in texts and review articles.

Proceedings of an International Conference held in Trondheim, Norway, 10th-12th October 2008, arranged by the Institute of Archaeology and Religious Studies, and the SAK department of the Museum of Natural History and Archaeology of the Norwegian University of Science and Technology (NTNU) A volume dedicated to the achievements of Norwegian archaeologist Gutorm Gjessing (1906-1979).

This copiously illustrated volume is the first systematic general work to do justice to the fruits of recent scholarship in the history of natural history. Public interest in this lively field has been stimulated by environmental concerns and through links with the histories of art, collecting and gardening. The centrality of the development of natural history for other branches of history - medical, colonial, gender, economic, ecological - is increasingly recognized. Twenty-four specially commissioned essays (...) cover the period from the sixteenth century, when the first institutions of natural history were created, to its late nineteenth-century transformation by practitioners of the new biological sciences. An introduction discusses novel approaches that have made this a major focus for research in cultural history. The essays, which include suggestions for further reading, offer a coherent and accessible overview of a fascinating subject. An epilogue highlights the relevance of this wide-ranging survey for current debates on museum practice, the display of ecological diversity and concerns about the environment. (shrink)

Throughout the twentieth century calls to modernize natural history motivated a range of responses. It was unclear how research in natural history museums would participate in the significant technological and conceptual changes that were occurring in the life sciences. By the 1960s, the Museum of Vertebrate Zoology at the University of California, Berkeley, was among the few university-based natural history museums that were able to maintain their specimen collections and support active research. The (...) MVZ therefore provides a window to the modernization of natural history. This paper concentrates on the directorial transitions that occurred at the MVZ between 1965 and 1971. During this period, the MVZ had four directors: Alden H. Miller (Director 1940–1965), an ornithologist; Aldo Starker Leopold (Acting Director 1965–1966), a conservationist and wildlife biologist; Oliver P. Pearson (Director 1966–1971), a physiologist and mammalogist; and David B. Wake (Director 1971–1998), a morphologist, developmental biologist, and herpetologist. The paper explores how a diversity of overlapping modernization strategies, including hiring new faculty, building infrastructure to study live animals, establishing new kinds of collections, and building modern laboratories combined to maintain collections at the MVZ’s core. The paper examines the tensions between the different modernization strategies to inform an analysis of how and why some changes were institutionalized while others were short-lived. By exploring the modernization of collections-based research, this paper emphasizes the importance of collections in the transformation of the life sciences. (shrink)

Until fairly recently, most of the attention of art historians and others in these debates has been paid to differences among the partisans of various disciplinary methodologies, or to the differential benefits of one or another school of thought or theoretical perspective in other areas of the humanities and social sciences as these might arguably apply to questions of art historical practice.1 Yet there has also come about among art historians a renewed interest in the historical origins of the academic (...) discipline itself, and in the relationships of its institutionalization in various countries to the professionalizing of other historical and critical disciplines in the latter part of the nineteenth century. These interests have led increasingly to wider discussion by art historians of the particular nature of disciplinary knowledge, the circumstances and protocols of academic practice, and the relations between the various branches of modern discourse on the visual arts: academic art history, art criticism, aesthetic philosophy, the art market, exhibitions, and musicology.2 What follows does not aim to summarize or characterize these developments but is more simply an attempt to delineate some of the principal characteristics of the discipline as an evidentiary institution in the light of the material conditions of academic practice that arose in the latter half of the nineteenth century in relation to the history of mueological display. In brief, this essay is concerned with the circumstances of art history’s foundations as a systematic and “scientific” practice, and its focus is limited to a single, albeit paradigmatic, American example. 1. An extended discussion of these issues may be found in Donald Preziosi, Rethinking Art History: Meditations on a Coy Science , pp. 80-121. See also The New Art History, ed. A. L. Rees and Frances Borzello .2. One important sign off these discussions has been a series of “Views and Overviews” of the discipline appearing in The Art Bulletin in recent years, of which the most recent has been perhaps the most extensive and comprehensive: Mieke Bal and Norman Byrson, ”Semiotics and Art History,” The Art Bulletin 73 : 174-208. Donald Preziosi is professor of art history at the University of California, Los Angeles, and, beginning in 1992, at the École des Hautes Études en Sciences Sociales in Paris. He is the author of Rethinking Art History: Meditations on a Coy Science and is currently completing a book on the history of museums entitled Framing Modernity. (shrink)

Excerpt from Cultures and Institutions of Natural History: Essays in the History and Philosophy of Science This volume consists mainly of papers delivered at two meetings cosponsored by the Museo Civico di Storia Naturale in Milan and the California Academy of Sciences in San Francisco. The first, on the Culture of Natural History, was held in Milan, November l4-l 6, I996. The second, on Institutions of Natural History, was held in San Francisco, October (...) 5 - 7, 1998. They followed two earlier conferences on Biology as History (pinna and Ghiselin I996; Ghiselin and Pinna I996) likewise held in Milan and San Francisco. We intend to continue the series of meetings and have publications based on them in commemoration of the Academy's sesquicentennial in 2003. The emphasis here is mainly upon natural history museums and the kind of science that goes on in them. Although the essays were originally written to stand by themselves, when arranged in chronological order they suggest a common theme. To paraphrase Darwin, the culture and institutions of natural history have been, and are being, evolved. They have adapted to local circumstances, diversified, and sometimes even progressed. We may hope that the future holds more than just retrogression and extinction in store. Read as case studies the essays provide valuable insights into not just how, but why, the institutions have come into being and subsequently been transformed. Previous generations had quite different ideas than we do about how a collection of naturalia is supposed to function and how it should be organized. And there were con icting goals and serious disputes about policy, much as there are today. Often, though not always, the institutions turn out to be very different from what had been envisioned by their founders. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)

American cultural technologies of the early nineteenth century shaped Nature and the synonymous "native" in contradictory ways: celebrating the wilderness but then transforming it by cultivation, mourning lost "natives" (both people and species) while also naturalizing the succession of new Euro-American settlers. Settler colonial geopolitics understood its own territorial claims in association with the retreats, migrations, and expansions of select species populations: cattle replacing American bison or Euro-Americans replacing Indians on the western frontier. In this way, Euro- (...) class='Hi'>American descendants of settlers who then considered themselves "natives" could be the natural stewards to "preserve" or "reform" wild remnants of nature while also identifying against the encroachment of the Old World. Technological arts as varied as moving panoramas and picturesque sketches depicted and enacted civilization overtaking the wild frontier through visual tours. This chapter explores how the sketch fits into technologies of seeing accompanying American settler colonialism and points to moments when it suggests ecological processes of ongoing passage rather than terminal extinction or succession. (shrink)

In the early twentieth century, with the development of Western scientific imperialism, Asia, South America, and Africa became sites for Western scientific exploration. Many paleontological specimens, including dinosaur bones, were discovered in China by foreign scientists and explorers and exported to museums in France, Sweden, and the United States. After the establishment of the Nationalist Government in Nanjing in 1927, anti-imperialist Chinese intellectuals attempted to prevent foreigners from exporting specimens unearthed on Chinese territory. In the summer of 1928, the fossils (...) discovered in the Gobi Desert by the Central Asiatic Expedition of the American Museum of Natural History were detained in China. A series of negotiations ensued between Chinese and American diplomats and scientists over the issues of the ownership of fossils and the format of international scientific collaborations. By studying the interests and stakes for players in the different social worlds involved in the dispute, this essay explores the relations among science, diplomacy, and the politics of deep time. (shrink)

n 1902, 70 million years after it tripped lightly through the Mesozoic forests in search of meat, the skeleton of a 20-foothightyrannosaurus was dynamited out of a sandstone bluff near Hell Creek, Mont. Wrapped in burlap and plaster and shipped back to New York, the bones were painstakingly reassembled by fossil curator Barnum Brown of the American Museum of Natural History. It was there, one day in 1947, that they happened to scare the bejesus out of (...) 5-year-old Stephen Jay Gould. With a mouthful of teeth as big as bananas, the great reptile gaped down at the little mammal who had usurped its place at the head of the food chain and set him scurrying for the safety of his daddy's pant leg. It was a sublime epiphany. Long after Gould could stare with equanimity at the skull of tyrannosaurus, he was left with the essential mystery that still motivates him as perhaps America's foremost writer and thinker on evolution: why should dinosaurs have ended up in human museums instead of—as one among an infinite number of evolutionary possibilities—the other way around? (shrink)

ABSTRACT Between the 1910s and the 1940s, American naturalists carried out a number of ornithological expeditions in Colombia. With the help of Colombian naturalists, thousands of skins were brought to natural history museums in the United States. By 1948 these birds had become an important treasure: American ornithologists declared Colombia the nation with the most bird species. This story sheds new light on the role science played in the expansion of U.S. political, economic, and cultural influence (...) in Latin America in the early twentieth century, as well as on the relation between nationalist movements in Latin America and the study of the natural world. Recognizing a complex but fruitful interaction between nationalist policies and imperial practices proves important for understanding the success of the naturalists' enterprise in Colombia. (shrink)

In his fortieth anniversary commemoration of the Cooper Union Museum for the Arts and Decoration in 1937, John Dewey wrote confidently about the development of museums as educational institutions. As Dewey argued, “[o]ne of the most striking features of recent American culture has been the rapid growth of museums in all lines, artistic, commercial and industrial; of natural history, anthropology and antiquities.” Dewey explained that it “has become generally recognized” that museums “occupy as necessary a place (...) in popular education as do public libraries,” arguing that “[v]ision of [museums’] educational function has kept pace with their material expansion.” In general, Dewey contended, a “museum that is directed... (shrink)

Reading the Shape of Nature vividly recounts the turbulent early history of the Museum of Comparative Zoology at Harvard and the contrasting careers of its founder Louis Agassiz and his son Alexander. Through the story of this institution and the individuals who formed it, Mary P. Winsor explores the conflicting forces that shaped systematics in the second half of the nineteenth century. Debates over the philosophical foundations of classification, details of taxonomic research, the young institution's financial struggles, and (...) the personalities of the men most deeply involved are all brought to life. In 1859, Louis Agassiz established the Museum of Comparative Zoology to house research on the ideal types that he believed were embodied in all living forms. Agassiz's vision arose from his insistence that the order inherent in the diversity of life reflected divine creation, not organic evolution. But the mortar of the new museum had scarcely dried when Darwin's Origin was published. By Louis Agassiz's death in 1873, even his former students, including his son Alexander, had defected to the evolutionist camp. Alexander, a self-made millionaire, succeeded his father as director and introduced a significantly different agenda for the museum. To trace Louis and Alexander's arguments and the style of science they established at the museum, Winsor uses many fascinating examples that even zoologists may find unfamiliar. The locus of all this activity, the museum building itself, tells its own story through a wonderful series of archival photographs. (shrink)