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)

During the 1920s, researchers from the American Museum of Natural History led by Roy Chapman Andrews exported a large collection of valuable fossils from the Gobi Desert. While their expedition was celebrated across Europe and the United States, it aroused enormous controversy in China and Mongolia, especially after a new Nationalist government was formed in Nanjing during the late 1920s. Whereas Chinese scholars accused American scientists of plundering their natural heritage, Andrews argued that because dinosaurs went extinct long before the (...) creation of China, prehistoric fossils belonged equally to all mankind. This essay locates the Central Asiatic Expedition within a broader history of epistemic imperialism to explore what the controversy that it engendered reveals about the production, circulation, and accumulation of knowledge in a global context. (shrink)

This article uses the example of Hesperornis regalis, an ancient toothed bird discovered in Kansas during the 1870s, to discuss a practice that became extremely widespread in late-nineteenth-century paleontology: the use of plaster cast replicas to circulate especially noteworthy discoveries. Building upon a growing literature at the intersection of book history and the history of science, I argue that paleontologists developed plaster casts as a compromise medium that combined some features of print with others from original natural history specimens. For (...) example, because plaster casts were mechanical reproductions, they could be fabricated in fairly large numbers at a relatively modest price. This allowed them to circulate more readily than original fossils. At the same time, however, paleontologists treated casts as a material trace of prehistory, much like an original fossil itself. As a result, they were seen as especially authoritative and trustworthy objects of knowledge. Insofar as they combined features of print and prehistory, I argue that casts functioned as a genuine mode of publication in late-nineteenth-century paleontology, but one that foregrounded its own materiality.`. (shrink)