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Dedicated to the art of the United States, the Smithsonian American Art Museum contains works by more than 7,000 artists and is widely regarded as an invaluable resource for the study and preservation of the nation's cultural heritage. But as Lois Marie Fink shows in this probing narrative, the history of the museum is hardly one of steady progress. Instead, it reads like a nineteenth-century melodrama, replete with villains and heroes, destruction by fire, dashed hopes, and periods of subsistence survival—all leading eventually to a happy ending. 

Originating as the art gallery stipulated in the 1846 founding legislation of the Smithsonian, the museum developed within an institution that was essentially controlled by scientists. In its early years, the museum's holdings included a diverse selection of art and artifacts, mostly donated from private collections. Government support varied in response to shifting attitudes of officials and the public toward American art, ranging from avid admiration at the turn of the twentieth century to a tepid response and an almost total withdrawal of funding a generation later in favor of European masterworks. For decades the museum followed scientific organizational principles in exhibitions and collection strategies. Far into the twentieth century, accessions remained tied to nineteenth-century figurative art, reflecting the strength and influence of anthropology and biological sciences at the Smithsonian. A key breakthrough for modern art came in 1964 with the appointment of Smithsonian secretary Dillon Ripley, a scientist who strongly promoted the art side of the institution. With renewed support for expanding the collection and programs, the museum moved in 1968 to its present location in the Patent Office Building. 

In recounting the history of the museum from 1846 to 1980, Fink unravels the various levels of institutional authority, power, governance, and bureaucracy and shows how people at each level influenced the fortunes of the collection. She also places changing concepts of art and museum practice in the context of national ideals and Washington realities.

“As is well known, Pete is an outstanding storyteller, and this book is no exception."
—Claire Strom, Journal of Southern History

In addition to chronicling significant exhibit work at the Smithsonian National Museum of American History, Curating the American Past, captures the excitement inherent in researching and writing history and Pete Daniel’s efforts to prevent diluted celebratory stories from replacing the red meat of the American past.

In Curating the American Past, Pete Daniel reveals how curators collect objects, plan exhibits, and bring alive the country’s complex and exciting history. In vivid detail, Daniel recounts the exhilaration of innovative research, the joys of collaboration, and the rewards of mentoring new generations of historians. In a career distinguished by prize-winning publications and pathbreaking exhibitions, Daniel also confronted the challenges of serving as a public historian tasked with protecting a definitive American museum from the erosion of scholarly standards. Curating the American Past offers a wealth of museum wisdom, illuminating the crucial role that dedicated historians and curators serve within our most important repositories of cultural memory.

Using a collection of medals held at the Denver Museum of Nature & Science, Tarnished Promises presents an updated overview of the history and story of peace medals through an examination of their legacy in the modern world. Accompanying the history and analysis are images of thirteen exemplar peace medals from the DMNS collections and their accompanying object biographies.

Peace medals paradoxically worked as tools of colonialism and also Native American agency, sovereignty, power, resistance, and change in response to growing challenges. Their widespread adoption by Native people in North America both prefigured and coincided with the many ways in which Native Americans and First Nations peoples worked to adapt to the unwelcome and undesirable changes wrought by expanding western colonialism. The unique individual histories behind the medals and the larger peace medal story suggest how material objects can hold several, sometimes contradictory, meanings and be influenced by varied strands of culture and historical memory. Tarnished Promises tells this complex story in two parts, with the first detailing the history of Indian peace medals from 1670 to the present day and the second part exploring their meaning at different points in time and to different peoples.

The first book-length treatment of peace medals using an anticolonialist perspective, Tarnished Promises is significant to scholars and the general public interested in numismatics, American history, Indigenous studies, and museum collections.