A lively account of how dinosaurs became a symbol of American power and prosperity and gripped the popular imagination during the Gilded Age, when their fossil remains were collected and displayed in museums financed by North America’s wealthiest business tycoons.
Although dinosaur fossils were first found in England, a series of dramatic discoveries during the late 1800s turned North America into a world center for vertebrate paleontology. At the same time, the United States emerged as the world’s largest industrial economy, and creatures like Tyrannosaurus, Brontosaurus, and Triceratops became emblems of American capitalism. Large, fierce, and spectacular, American dinosaurs dominated the popular imagination, making front-page headlines and appearing in feature films.
Assembling the Dinosaur follows dinosaur fossils from the field to the museum and into the commercial culture of North America’s Gilded Age. Business tycoons like Andrew Carnegie and J. P. Morgan made common cause with vertebrate paleontologists to capitalize on the widespread appeal of dinosaurs, using them to project American exceptionalism back into prehistory. Learning from the show-stopping techniques of P. T. Barnum, museums exhibited dinosaurs to attract, entertain, and educate the public. By assembling the skeletons of dinosaurs into eye-catching displays, wealthy industrialists sought to cement their own reputations as generous benefactors of science, showing that modern capitalism could produce public goods in addition to profits. Behind the scenes, museums adopted corporate management practices to control the movement of dinosaur bones, restricting their circulation to influence their meaning and value in popular culture.
Tracing the entwined relationship of dinosaurs, capitalism, and culture during the Gilded Age, Lukas Rieppel reveals the outsized role these giant reptiles played during one of the most consequential periods in American history.
Scientific advances and economic forces have converged to create something unthinkable for much of human history: a robust market in human body products. Every year, countless Americans supply blood, sperm, and breast milk to “banks” that store these products for later use by strangers in routine medical procedures. These exchanges entail complicated questions. Which body products are donated and which sold? Who gives and who receives? And, in the end, who profits? In this eye-opening study, Kara Swanson traces the history of body banks from the nineteenth-century experiments that discovered therapeutic uses for body products to twenty-first-century websites that facilitate a thriving global exchange.
More than a metaphor, the “bank” has shaped ongoing controversies over body products as either marketable commodities or gifts donated to help others. A physician, Dr. Bernard Fantus, proposed a “bank” in 1937 to make blood available to all patients. Yet the bank metaphor labeled blood as something to be commercially bought and sold, not communally shared. As blood banks became a fixture of medicine after World War II, American doctors made them a front line in their war against socialized medicine. The profit-making connotations of the “bank” reinforced a market-based understanding of supply and distribution, with unexpected consequences for all body products, from human eggs to kidneys.
Ultimately, the bank metaphor straitjacketed legal codes and reinforced inequalities in medical care. By exploring its past, Banking on the Body charts the path to a more efficient and less exploitative distribution of the human body’s life-giving potential.
The history of Pre-Columbian collecting is a social and aesthetic history—of ideas, people and organizations, and objects. This richly illustrated volume examines these histories by considering the collection and display of Pre-Columbian objects in Europe, Latin America, and the United States. Some of the thirteen essays locate the collecting process within its broader cultural setting in order to explain how and why such collections were formed, while others consider how collections have served as documents of culture within the disciplines of archaeology and anthropology, and as objects of fine art or aesthetic statements within the art and art historical worlds. Nearly all contemplate how such collections have been used as active signifiers of political, economic, and cultural power.
The thirteen essays were originally presented at a symposium commemorating the fiftieth anniversary of the Pre-Columbian Collection at Dumbarton Oaks. They continue to be groundbreaking contributions to the histories of collecting and Pre-Columbian art.
A cultural history of Sápmi and the Nordic countries as told through objects and artifacts
Material objects—things made, used, and treasured—tell the story of a people and place. So it is for the Indigenous Sámi living in Norway, Sweden, Finland, and Russia, whose story unfolds across borders and centuries, in museums and private collections. The objects created by the Sámi for daily and ceremonial use were purchased and taken by Scandinavians and foreign travelers in Lapland from the seventeenth century to the present, and the collections described in From Lapland to Sápmi map a complex history that is gradually shifting to a renaissance of Sámi culture and craft, along with the return of many historical objects to Sápmi, the Sámi homeland.
The Sámi objects first collected in Lapland by non-Indigenous people were drums and other sacred artifacts, but later came to include handmade knives, decorated spoons, clothing, and other domestic items owned by Sámi reindeer herders and fishers, as well as artisanal crafts created for sale. Barbara Sjoholm describes how these objects made their way via clergy, merchants, and early scientists into curiosity cabinets and eventually to museums in Copenhagen, Stockholm, Oslo, and abroad. Musicians, writers, and tourists also collected Sámi culture for research and enjoyment. Displays of Sámi material culture in Scandinavia and England, Germany, and other countries in museums, exhibition halls, and even zoos often became part of racist and colonial discourse as examples of primitive culture, and soon figured in the debates of ethnographers and curators over representations of national folk traditions and “exotic” peoples. Sjoholm follows these objects and collections from the Age of Enlightenment through the twentieth century, when artisanship took on new forms in commerce and museology and the Sámi began to organize politically and culturally. Today, several collections of Sámi objects are in the process of repatriation, while a new generation of artists, activists, and artisans finds inspiration in traditional heritage and languages.
Deftly written and amply illustrated, with contextual notes on language and Nordic history, From Lapland to Sápmi brings to light the history of collecting, displaying, and returning Sámi material culture, as well as the story of Sámi creativity and individual and collective agency.
Purple three-awn.
Tree of heaven.
Alamo vine.
Narrowleaf cattail.
These exotic and fanciful names conjure up visions of lush foliage, colorful grasses, and dense plant life. They are, in fact, names of native and naturalized Texas plants—grasses, pods, vines, and weeds. Lovely and all-too-often overlooked in nature, they become ornamental delights when used imaginatively and decoratively.
Grasses, Pods, Vines, Weeds introduces 44 of Texas' most common and important naturals. Quentin Steitz shows how to recognize them and discover their aesthetic wealth. By taking the reader through all of the steps involved in utilizing naturals—from harvest to design—her book becomes an important tool for floral and landscape designers, decorators, horticulturalists, home gardeners, botanists: all those people who enjoy hands-on experience with Texas' vast array of native and naturalized plants.
The book presents clear and concise descriptions of many Texas naturals, accompanied by approximately 150 full-color photographs showing each in one or more stages of growth and also in a design. The reader can see the plant as it looks not only in the wild but also in an arrangement. The author offers techniques on how the species can be prepared for display, discussing drying and arranging. And a chapter on cultivation and conservation suggests to outdoor enthusiasts species they can grow for decorative natural materials as well as conserve and appreciate in the wild.
Grasses, Pods, Vines,Weeds is enhanced by flora selected, collected, prepared, and dried by the author. These hand-culled materials have been used in designs contributed by some nineteen notable floral designers as well as the author. The text and designs combine to reveal the fresh, creative applications of Texas' decorative naturals and to increase our pleasure in the wonders of natural Texas.
As scientists grapple with the erosion of genetic diversity of crops and their wild relatives, old-timey farmers and gardeners continue to save, propagate, and pass on folk varieties and heirloom seeds. Virginia Nazarea focuses on the role of these seedsavers in the perpetuation of diversity. She thoughtfully examines the framework of scientific conservation and argues for the merits of everyday conservation—one that is beyond programmatic design. Whether considering small-scale rice and sweet potato farmers in the Philippines or participants in the Southern Seed Legacy and Introduced Germplasm from Vietnam in the American South, she explores roads not necessarily less traveled but certainly less recognized in the conservation of biodiversity.
Through characters and stories that offer a wealth of insights about human nature and society, Heirloom Seeds and Their Keepers helps readers more fully understand why biodiversity persists when there are so many pressures for it not to. The key, Nazarea explains, is in the sovereign spaces seedsavers inhabit and create, where memories counter a culture of forgetting and abandonment engendered by modernity. A book about theory as much as practice, it profiles these individuals, who march to their own beat in a world where diversity is increasingly devalued as the predictability of mass production becomes the norm.
Heirloom Seeds and Their Keepers offers a much-needed, scientifically researched perspective on the contribution of seedsaving that illustrates its critical significance to the preservation of both cultural knowledge and crop diversity around the world. It opens new conversations between anthropology and biology, and between researchers and practitioners, as it honors conservation as a way of life.
Behind the ancient artifacts exhibited in our museums lies a secret past—of travel, desire, the quest for knowledge, and even theft. Such is the case with the objects of Mesoamerican culture so avidly collected, cataloged, and displayed by the British in the nineteenth century. Informal Empire recaptures the history of those artifacts from Mexico and Central America that stirred Victorian interest—a history that reveals how such objects and the cultures they embodied were incorporated into British museum collections, panoramas, freak shows, adventure novels, and records of imperial administrators.
Robert D. Aguirre draws on a wealth of previously untapped historical information to show how the British colonial experience in Africa and the Near East gave rise to an “informal imperialism” in Mexico and Central America. Aguirre’s work helps us to understand what motivated the British to beg, borrow, buy, and steal from peripheral cultures they did not govern. With its original insights, Informal Empire points to a new way of thinking about British imperialism and, more generally, about the styles and forms of imperialism itself.
James Loeb (1867–1933), one of the great patrons and philanthropists of his time, left many enduring legacies both to America, where he was born and educated, and to his ancestral Germany, where he spent the second half of his life. Organized in celebration of the sesquicentenary of his birth, the James Loeb Biennial Conferences were convened to commemorate his achievements in four areas: the Loeb Classical Library (2017), collection and connoisseurship (2019), and after pandemic postponement, psychology and medicine (2023), and music (2025).
The subject of the second conference was Loeb’s deep and multifaceted engagement with the material culture of the ancient world as a scholar, connoisseur, collector, and curator. The volume’s contributors range broadly over the manifold connections and contexts, both personal and institutional, of Loeb’s archaeological interests, and consider these in light of the long history of collection and connoisseurship from antiquity to the present. Their essays also reflect on the contemporary significance of Loeb’s work, as the collections he shaped continue to be curated and studied in today’s rapidly evolving environment for the arts.
From ancient Maya cities in Mexico and Central America to the Taj Mahal in India, cultural heritage sites around the world are being drawn into the wave of privatization that has already swept through such economic sectors as telecommunications, transportation, and utilities. As nation-states decide they can no longer afford to maintain cultural properties—or find it economically advantageous not to do so in the globalizing economy—private actors are stepping in to excavate, conserve, interpret, and represent archaeological and historical sites. But what are the ramifications when a multinational corporation, or even an indigenous village, owns a piece of national patrimony which holds cultural and perhaps sacred meaning for all the country's people, as well as for visitors from the rest of the world?
In this ambitious book, Lisa Breglia investigates "heritage" as an arena in which a variety of private and public actors compete for the right to benefit, economically and otherwise, from controlling cultural patrimony. She presents ethnographic case studies of two archaeological sites in the Yucatán Peninsula—Chichén Itzá and Chunchucmil and their surrounding modern communities—to demonstrate how indigenous landholders, foreign archaeologists, and the Mexican state use heritage properties to position themselves as legitimate "heirs" and beneficiaries of Mexican national patrimony. Breglia's research masterfully describes the "monumental ambivalence" that results when local residents, excavation laborers, site managers, and state agencies all enact their claims to cultural patrimony. Her findings make it clear that informal and partial privatizations—which go on quietly and continually—are as real a threat to a nation's heritage as the prospect of fast-food restaurants and shopping centers in the ruins of a sacred site.
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.
Res is a journal of anthropology and comparative aesthetics dedicated to the study of the object, in particular cult and belief objects and objects of art. The journal presents contributions by philosophers, art historians, archaeologists, critics, linguists, architects, artists, and others. Its field of inquiry is open to all cultures, regions, and historical periods. Res also publishes iconographic and textual documents important to the history and theory of the arts.
Res appears twice yearly, in the spring and autumn. The journal is edited by Francesco Pellizzi. More information about Res is available at www.res-journal.org.
Veins of Devotion details recent collaborations between guru-led devotional movements and public health campaigns to encourage voluntary blood donation in northern India. Focusing primarily on Delhi, Jacob Copeman carefully situates the practice within the context of religious gift-giving, sacrifice, caste, kinship, and nationalism. The book analyzes the operations of several high-profile religious orders that organize large-scale public blood-giving events and argues that blood donation has become a site not only of frenetic competition between different devotional movements, but also of intense spiritual creativity.
Despite tensions between blood banks and these religious groups, their collaboration is a remarkable success storyùthe nation's blood supply is replenished while blood donors discover new devotional possibilities.
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