Academy of Natural Sciences

Chasmosaurus Belli

Cretaceous Period

Skeletal Cast

Dinosaur Hall

The Chasmosaurus Belli pronounced KAZ-mo_SOREus, BELL-eye, means Bell’s open lizard.  It is part of the ceratopsian group of dinosaurs, meaning it is a horned animal, and this one has three large horns on its head.  This skeleton cast in the Dinosaur exhibit in the Academy of Natural Sciences is a copy of the original skeleton at the Canadian Museum of Nature.  It is 17 feet long and had an estimated weight while alive of 2 tons.  It was an herbivore, eating only plants, and lived in North America, specifically the region of Alberta, Canada.  It lived in the late Cretaceous period, 76-73 million years ago. 

This skeleton is set up in Dinosaur Hall among other full skeletons of dinosaurs and fish, along with other partial skeletons.  It is important because it is part of the first dinosaur fossil exhibition in the United States. It is an example of a dinosaur that only eats plants, and is much smaller in comparison to carnivores on display, such as the Tyrannosaurus Rex.  It gives visitors the reference to compare different species based on their similarities and differences.  The Chasmosarus Belli is also known for having the largest brain, enabling it to have complex social interactions.  For example, if danger were sensed, adults would form a ring around the young offspring to protect them with their horns from predators. 

The room is slightly dated, with the labels mostly originating from the 80’s.  While the color scheme and text may be less contemporary than other exhibits in the museum, the information provided is scientific and yet presents facts that make it accessible to even the youngest visitors.  Braille is also on each panel in the exhibit, something I have not yet seen in other museums. 

Dinosaurs on display such as these are much more familiar to visitors today than they were in the generations before the discovery channel or National Geographic.  Children’s’ movies like “The Land Before Time”, or “Night At The Museum” also effect children’s perspectives.  They learn some information about dinosaurs that is based on fiction, and may come to the museum with skewed expectations for the large skeletons.  However, it is important to be aware of popular culture’s influence on children and their opinions, and for the museum to take that into consideration when revamping exhibits in the future, such as Dinosaur Hall to ensure visitor engagement.    

Of Elephants and Roses

November 3, 2011

American Philosophical Society

Josephine’s March Lily

1802-1805

Watercolor on Vellum

P.J. Redoute

Of Elephants and Roses

Excerpt from The Lilies 7^th edition (1813)

Josephine's March Lily
http://www.apsmuseum.org/elephants-and-roses

This large watercolor painting of an Amaryllis flower is part of the “Of Elephants and Roses” exhibit at the American Philosophical Society (APS) museum.  The detail and skill apparent in the work lends it to be appreciated by people who enjoy rare flowers and watercolors.  As part of the section focusing on rare flowers, this painting represents the power Josephine Bonaparte possessed, and her skill at recognizing the value of flowers and animals.  She hired Redoute, an expert at painting flowers, to paint the flora within her Malmaison Estate.  As part of a compilation of Lily studies, the “March Lily” reveals Josephine’s interest in the science and educational opportunities of her objects.

This painting made its way to Philadelphia as part of the first exhibit that APS has put on with loaned materials.  It comes from France and is part of the French natural sciences portion of the current exhibit.  Within its space are other paintings of flowers from Josephine’s collection, highlighting its variety and uniqueness.  Directly next to it is a large drawing of an Amaryllis bulb worth 100 gold pieces.   It creates an interesting juxtaposition between the bulb and the flower in full bloom.  The label that accompanies the painting informs the viewer of the narrative of the flower behind the painting.  It describes how the flower travelled from South Africa to Holland in 1789 and eventually found its way to the Malmaison Estate outside of Paris.   

This painting could be compared to Dutch still life paintings of flowers.  While these are typically bouquets of a wide variety of flower species, the detail used to make each individual flower recognizable is similar.  The French painting however, has a stronger connection to the study of botany than does its Dutch counterparts, engaging scientists as well as artists in the work.  However, this could also deter people only interested in art from appreciating the value of the flower study for it’s scientific purposes. 

An opposing narrative about this object could detail the injustices around taking rare flowers from their native countries.  The colonization efforts of Europe were detrimental to many civilizations.  The transport of this flower outside of South Africa is a story that parallels the lives of many people during that time, and represents how those wrongdoings      were overlooked.    

Please Touch Museum

Woodside Park Dentzel Carousel

1908

Dentzel Carousel Company

Please Touch Museum

The carousel at the Please Touch Museum in Philadelphia was a project of William Dentzel’s.  It is a 52-foot structure with three rows of animals abreast of each other.  There are 52 hand carved animals and two chariots.  They are carved in the "Philadelphia Style" of carousel sculpture, meaning the animals are all life like detail and colors.  The main carver of this carousel, Salvatore Cernigliaro made it unique and special from others by adding a "flirting rabbit" to the middle ring.  The rabbit raises one paw as if engaging in conversation with the people who walk by.  This rabbit is one three known in the world.  

"Flirting Rabbit", saying Hello to you?

This object is also important because many chariots like it have since been destroyed.  This ride was also almost destroyed after a series of moves and park closures in Philadelphia and New York.  It was later absorbed into the collection of the Smithsonian National History museum in Washington D.C. where it was mostly in storage, with a few animals individually on display in the museum.  Eventually it was transferred again to the Pennsylvania Historical and Museum Commission, and the Please Touch Museum in Philadelphia. 

In 1960 the horses, rabbits, goats and cats of the carousel were sandblasted and repainted.  A conservation project that took two years was begun on the carousel to return the animals, mirrors, clown heads and cherubs to their original colors.  During this effort, conservators realized that some of the animals were not original to the ride, having been switched out and replaced with other animals.  Some do still date back to before 1924. 

The carousel is displayed in a glass pavilion on the east side of the Please Touch Museum, and is still in use today.  It is part of an entire carousel exhibit including interpretive panels about the history and process of creating the carousel, and the conservation of the iconic ride.  Some children may not appreciate the carousel for its historic and artistic value, this being overshadowed by fear created by the realism and size of the animals.  

  Please Touch effectively presents the historical, pop culture value of the carousel, providing anyone with an interest in pop culture history the opportunity to engage with an object from the early 20th century.  Also, artistically the carousel is important because of the skill and detail evident in the many animals and chariots.  It is an art form that is overlooked, however people interested in sculpture would appreciate the talent of Salvatore Cernigliaro.  

As an interactive exhibit within the museum, children are able to ride it while listening to traditional carousel music and looking out on Fairmont Park through the glass pavilion.  This enables the carousel to be enjoyed in a similar way to its original location in Woodside Park. 

Eastern State Penitentiary Synagogue

Eastern State Penitentiary

October 2011

                                   

Synagogue

1928-9

Plywood and Stone

Alfred W. Fleisher

            Instead of an individual object, this week I chose to write about an entire space.  The synagogue at Eastern State Penitentiary (ESP) is a religious room built out off a converted exercise yard space.  ESP was a solitary confinement prison opened in 1829 with a growing population of Jewish inmates.  During the 1920’s after solitary confinement was abolished, a synagogue was built on site so that the Jewish inmates could observe holidays and pray.  This was the first prison synagogue and its presence would have been very important to a religious Jew.  With the help of Alfred W. Fleisher, President of the Board of Trustees, this sacred space became available to fulfill the religious needs of inmates.   

            In 1971 ESP was closed and began to fall into a state of disrepair.  Once open as a museum/historic site, the Synagogue presented itself to staff as a major conservation project, one that they eagerly took on.  There were 6 inches of debris from the ceiling covering the floor, and much of the wood (originally from 1928) had become unusable.    

            The synagogue now is completely rebuilt and looks like it could be a small chapel in any synagogue today.  Original photographs that helped with the reconstruction were turned into interpretive panels and allow visitors to see the before and after images of the space as well as the space being used by inmates before 1971. 

            This space reflects a level of respect the guards had for the prisoners, and the changing times of U.S. correctional facilities.  The Synagogue could be an opportunity for ESP to continue the narrative about current issues in prison systems.  This level of respect for the humanity of inmates could be applied today.   

            

Elephant Shrews at the Zoo

Philadelphia Zoo

October 16, 2011

Giant Elephant Shrew

            This week I chose to write about the Giant Elephant Shrew in the Rare Animal Conservation Center at the Philadelphia Zoo.  A small mammal from different regions of Africa, the Elephant Shrew is rarely seen in nature.  Besides the appeal of its cute little nose, Elephant Shrews are an important aspect of the Zoo because of their educational potential.  Conservation education is a large part of the Zoo’s mission statement and goals.  This small mammal plays a role in that mission as part of the Rare Animal collection of the Zoo. 

            The Elephant Shrews were either acquired from the National Zoo of the Smithsonian in Washington D.C., or born at the Philadelphia Zoo.  The Elephant Shrew spends time in its exhibit with other rare mammals, such as monkeys, living together to represent their struggling species.  These rare animals are important to learn about because expanding education about endangered species is crucial to their survival.  As part of this mission, the text that accompanies the animal is written to teach the viewer about them, and explain the importance of their presence in the Zoo.

            Exploration of other endangered species in the world and what people can do to help them would enrich this experience.  It is designed to encourage people to do just that, and it is successful in encouraging research and change.  While some people may not see the endangerment of species throughout the world as a problem, the Zoo effectively explains the crucial aspects of food chains and the necessity of each animal.       

American Swedish Historical Museum

American Swedish Historical Museum

October 2011

Jenny Lind Cigar Box

“Factory No. 67 2^nd district New York”

19^th Century

The Jenny Lind Room

    

      I chose to discuss the Jenny Lind cigar box in the American Swedish Historical Museum this week because of the objects connection to opera singer, Jenny Lind (1820-1877).  Lind was an influential figure in Swedish society through her successful music career.  The room is named after Lind and contains portraits of her, personal objects, and works from other notable individuals in Swedish culture.  The cigar box in particular was of interest to me and is most likely to others because it is an object of memorabilia from her music career, and represents her level of fame in the 19^th century.  Multiple audiences would be able to engage in the object by comparing it to current memorabilia or as an object they recognize from their past.        

        The cigar box is displayed in a glass class case with other objects from Jenny Lind’s life to portray the breadth of her influence.  Among the objects are a decanter, sunglasses, concert tickets, a decorative fan, and porcelain dolls in Lind’s likeness.  Placing the cigar box with these items creates a more complete picture of how successful Lind was.  The labels in the case briefly describe the objects and their intended purposes.  The label next to the cigar box explains that the box once held cigars made in Havana, Cuba.

            Studying the history of popular culture memorabilia would create an interesting context in which to view the cigar box and other objects in the display case.  Also being familiar with Swedish musical culture, especially the opera would enrich the experience by being able to compare and contrast it with American pop culture.  Because the labels are brief, people who enjoy having in depth labels and information about objects would spend a short amount of time at this particular object, however it plays an essential role in depicting the star power of Jenny Lind within the room. 

American Swedish Historical Museum

Philadelphia Museum of Art - Kathe Kollwitz

Philadelphia Museum of Art

September 2011

Run Over

Germany, 1910

Etching, soft ground

Kathe Kollwitz (1867-1945)

Prints, Drawings, Photographs

PMA online collection (currently not on display)

This week’s object is an etching by German artist Kathe Kollwitz.  This work is important to me because it is by my favorite artist.  Kollwitz is known for her depictions of emotional and harsh mother and child scenes.  She represented scenes of poverty and hardship that most people chose to overlook. 

The love and sorrow a mother feels over the loss of her child are seen in Run Over.  Kollwitz captures an honest moment of community in a rarely seen genre style.  This image would be important to mothers and anyone who has ever lost a loved one.  It is painful and reassuring simultaneously.    

            Unfortunately, this object was not on display at the PMA, however it can be found in the online collections database.  It was acquired from the Pennsylvania Academy of Fine Arts as part of a gift from Muriel and Philip Berman.   

With the technology of the PMA’s online database it is easy to see this image in great detail.  Viewers can zoom in to this image with great clarity to see the details of Kollwitz’s technique.  In addition to Run Over viewers can search for other works that are comparable, either in technique, content, or general themes, giving them the freedom to understand works in different way.  This online option allows viewers to look at art a more analytical and critical way then while in the gallery.

            Understanding and studying Europe at the turn of the 20^th century would enrich a viewers understanding and appreciation of this work.  Most study of history involves major events and significant historical figures.  Kollwitz brings the lower, sometimes-unappreciated classes to life.  Also studying the unique technique Kollwitz uses would bring a unique appreciation to her work.  Bold yet simple strokes and textures bring the figures to life through the emotion in the work. 

            Children may not be interested in this object however because of it’s mature content and dark style.  Using this image as a comparison to other emotional images, perhaps happy or angry images would be another way to engage a variety of viewers.                

http://www.philamuseum.org/collections/permanent/10671.html?mulR=20711|1