Celebrates the resilience of American cultural institutions in the face of national crises and challenges

On an afternoon in January 1865, a roaring fire swept through the Smithsonian Institution. Dazed soldiers and worried citizens could only watch as the flames engulfed the museum's castle. Rare objects and valuable paintings were destroyed. The flames at the Smithsonian were not the first--and certainly would not be the last-- disaster to upend a museum in the United States. Beset by challenges ranging from pandemic and war to fire and economic uncertainty, museums have sought ways to emerge from crisis periods stronger than before, occasionally carving important new paths forward in the process.

The Museum explores the concepts of crisis as it relates to museums, and how these historic institutions have dealt with challenges ranging from depression and war to pandemic and philosophical uncertainty. Fires, floods, and hurricanes have all upended museum plans and forced people to ask difficult questions about American cultural life. With chapters exploring World War I and the 1918 influenza pandemic, the Great Depression, World War II, the 1970 Art Strike in New York City, and recent controversies in American museums, this book takes a new approach to understanding museum history. By diving deeper into the changes that emerged from these key challenges, Samuel J. Redman argues that cultural institutions can--and should-- use their history to prepare for challenges and solidify their identity going forward. A captivating examination of crisis moments in US museum history from the early years of the twentieth century to the present day, The Museum offers inspiration in the resilience and longevity of America's most prized cultural institutions.

Celebrates the resilience of American cultural institutions in the face of national crises and challenges

On an afternoon in January 1865, a roaring fire swept through the Smithsonian Institution. Dazed soldiers and worried citizens could only watch as the flames engulfed the museum's castle. Rare objects and valuable paintings were destroyed. The flames at the Smithsonian were not the first--and certainly would not be the last-- disaster to upend a museum in the United States. Beset by challenges ranging from pandemic and war to fire and economic uncertainty, museums have sought ways to emerge from crisis periods stronger than before, occasionally carving important new paths forward in the process.

The Museum explores the concepts of crisis as it relates to museums, and how these historic institutions have dealt with challenges ranging from depression and war to pandemic and philosophical uncertainty. Fires, floods, and hurricanes have all upended museum plans and forced people to ask difficult questions about American cultural life. With chapters exploring World War I and the 1918 influenza pandemic, the Great Depression, World War II, the 1970 Art Strike in New York City, and recent controversies in American museums, this book takes a new approach to understanding museum history. By diving deeper into the changes that emerged from these key challenges, Samuel J. Redman argues that cultural institutions can--and should-- use their history to prepare for challenges and solidify their identity going forward. A captivating examination of crisis moments in US museum history from the early years of the twentieth century to the present day, The Museum offers inspiration in the resilience and longevity of America's most prized cultural institutions.

An aid to researchers working in 21st century archives in the United States, this pamphlet presents some contemporary approaches to archival research from tracking down possible archival sources to the nuts-and-bolts of recording information. It also offers tips for organizing archival material and \ utilizing new technologies in the archives.

A Smithsonian Top History Book of the Year
A Nature Book of the Year

How did our museums become great storehouses of human remains? What have we learned from the skulls and bones of unburied dead? Bone Rooms chases answers to these questions through shifting ideas about race, anatomy, anthropology, and archaeology and helps explain recent ethical standards for the collection and display of human dead.
--Ann Fabian, author of The Skull Collectors

In 1864 a US Army doctor dug up the remains of a Dakota man who had been killed in Minnesota. Carefully recording his observations, he sent the skeleton to a museum in Washington, DC, that was collecting human remains for research. In the bone rooms of this museum and others like it, a scientific revolution was unfolding that would change our understanding of the human body, race, and prehistory.

In Bone Rooms Samuel Redman unearths the story of how human remains became highly sought-after artifacts for both scientific research and public display. Seeking evidence to support new theories of human evolution and racial classification, collectors embarked on a global competition to recover the best specimens of skeletons, mummies, and fossils. The Smithsonian Institution built the largest collection of human remains in the United States, edging out stiff competition from natural history and medical museums springing up in cities and on university campuses across America. When the San Diego Museum of Man opened in 1915, it mounted the largest exhibition of human skeletons ever presented to the public.

The study of human remains yielded discoveries that increasingly discredited racial theory; as a consequence, interest in human origins and evolution--ignited by ideas emerging in the budding field of anthropology--displaced race as the main motive for building bone rooms. Today, debates about the ethics of these collections continue, but the terms of engagement were largely set by the surge of collecting that was already waning by World War II.

A Smithsonian Book of the Year
A Nature Book of the Year

Provides much-needed foundation of the relationship between museums and Native Americans.
--Smithsonian

In 1864 a US Army doctor dug up the remains of a Dakota man who had been killed in Minnesota and sent the skeleton to a museum in Washington that was collecting human remains for research. In the bone rooms of the Smithsonian, a scientific revolution was unfolding that would change our understanding of the human body, race, and prehistory.

Seeking evidence to support new theories of racial classification, collectors embarked on a global competition to recover the best specimens of skeletons, mummies, and fossils. As the study of these discoveries discredited racial theory, new ideas emerging in the budding field of anthropology displaced race as the main motive for building bone rooms. Today, as a new generation seeks to learn about the indigenous past, momentum is building to return objects of spiritual significance to native peoples.

A beautifully written, meticulously documented analysis of [this] little-known history.
--Brian Fagan, Current World Archeology

How did our museums become great storehouses of human remains? Bone Rooms chases answers...through shifting ideas about race, anatomy, anthropology, and archaeology and helps explain recent ethical standards for the collection and display of human dead.
--Ann Fabian, author of The Skull Collectors

Details the nascent views of racial science that evolved in U.S. natural history, anthropological, and medical museums...Redman effectively portrays the remarkable personalities behind [these debates]...pitting the prickly Ales Hrdlička at the Smithsonian...against ally-turned-rival Franz Boas at the American Museum of Natural History.
--David Hurst Thomas, Nature

A searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of vanishing Indigenous peoples through dispossession of the very communities it was meant to protect.

In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects--crafts, clothing, images, song recordings--by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the vanishing Indian and what we can learn from the complex legacy of salvage anthropology.

The salvage catalog betrays a vision of Native cultures clouded by racist assumptions--a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors' methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public's confidence in the hierarchies of superiority and inferiority invented by scientific racism.

Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance.