The rhino in the Grant Museum – what’s his name?

The largest single specimen in the Museum – our (hornless) Indian one-horned rhino – is about to go on holiday. He is going away for some serious conservation work. You might call it health tourism.

The rhino entered the Museum as an un-mounted skeleton in 1910-11 when the University of London Loan Collection was disbanded. The Museum then paid £14 to have him, the seal, the bear and “a zebra” (possibly the quagga) mounted onto iron frames. Since then, the rhino has been on open display in the Museum, and the iron is slowly corroding.

This year, as part of a major project called Bone Idols: Preserving our Iconic Skeletons, 39 of our largest specimens are undergoing conservation treatment. Some need intensive cleaning to remove the damaging pollutants and particulates that have built up over up to 180 years on open display; some also need repairs to certain body parts. Some, like the rhino and quagga, need to be totally disassembled, cleaned, and then repositioned on new skeleton-friendly metal frames, with all his joints correctly matching up.

All of this work will allow us to safe-guard our irreplaceable collection for the long-term future and continue to use it every day for teaching, research and public engagement.

There are two exciting opportunities coming up as a result… (more…)

We all know that in this world of competing stimuli, an animal really needs to work hard to get people interested, achieve celebrity status in the media, and ultimately realise the dream that all animals hold – to star their own bank, crisps or cereal advert.

We trade in animal USPs every day… We talk about the biggest/smallest/rarest/fastest/ugliest/deadliest, and this is what gets aspiring animal stars into the And Finally… sections of the news.

The A-Team of animal superlatives is well established, and so today I am acting (for a commission) to promote the under-promoted of the animal world. This Australian marvel has a long list of “-est”s to its name.

This week’s Specimen of the Week is… (more…)

ALTED Hydrozoa by Lan Lan, 2014.
From Subnature exhibition

Back in May this year we opened the exhibition Subnature by the UCL Slade School of Fine Art’s Lan Lan. The highlight of the exhibition were a series of extremely high quality prints, generated by digitally manipulating photographs of sculptures the artist had created from fish bone.

The resulting images resembled at once both marine creatures and galaxies.

At the end of the exhibition the prints were offered for sale. We are now very pleased to announce that the artist has kindly allowed us to significantly reduce the prices to assist with our raising funds for our major conservation project to preserve 39 of our large skeletons, including the world’s rarest skeleton, the quagga.

Details of the sale, and images of the stunning prints can be seen on the Subnature sale website.

The prints are available for a limited time only, until 23rd December 2014.

Jack Ashby is the Manager of the Grant Museum of Zoology

The Grant Museum is extremely excited to be a partner in the National Maritime Museum’s Travelers’ Tails project, which will involve this painting of a kangaroo by George Stubbs – the first ever western painting of Australian wildlife – coming to the Grant in March.

The Kongouro from New Holland (Kangaroo), George Stubbs (1772). ZBA5754 (L6685-001). National Maritime Museum, Greenwich, London*

Last month I was in Australia on zoological fieldwork. I decided to visit the places that Cook went on his first voyage of discovery, which resulted in Britain’s first kangaroo encounters and ultimately this painting being made. It very nearly didn’t happen, and Cook’s Australian expedition would have been a zoological disappointment.

I wrote this post for the National Maritime Museum’s blog. It begins…

The kangaroo painting that might never have been – following in Cook’s footsteps

The painting of the kangaroo by George Stubbs would never have existed if it weren’t for an extraordinary bit of bad luck in a very dangerous situation. (more…)

Despite the levels of pay and instability of the jobs at the lower rungs (at least) of this particular career ladder, working in the museum sector is incredibly competitive.

As a result, aspiring museum workers often face the question of how to position themselves as the strongest candidate in the pool. Should they take the plunge and stump up thousands of pounds to do a Museum Studies masters degree? It’s worth taking a second to consider that even being able to ask that question is a non-starter for the majority of people, who can’t afford it. Those people shouldn’t be excluded for the museum sector.

A real live collections management job requiring a Museum Studies Masters

The Grant Museum Curator Mark Carnall (who has a Museum Studies degree) gave his opinion on this last year, and I thought I should offer my own personal perspective, as someone in a reasonably senior museum role who doesn’t have this degree.

For me, there are very few circumstances when I would recommend someone did a Museum Studies degree. Obviously I am biased by own own experience, and so this is my own personal take on things. (more…)

Day four of my sponge exploration (I’m here for ten months as the Museum’s Artist in Residence). There’s one specimen on the shelf that I’ve been saving as a particularly special treat… it looks like an onion, it’s not sealed in a jar, and it doesn’t have a label. It’s in the glass sponge cabinet, but it doesn’t look like the other specimens. Instead, it has a grey doughy appearance, covered in small holes, and it tapers at the top into a dark red spiral. I take it back to my desk for a closer look.

The Mystery Sponge

One of the (many) great things about spending time in the Grant Museum is that I share a room with people who not only know a lot about zoology, but also want to keep finding out more. I like to distract them from their work with questions like, ‘How do things, erm, grow?’. They are very patient. But today, I had a new question: ‘What is this oniony pointy sponge that has no label?’ Was it, perhaps, the broken base of a glass rope sponge? No – a glass sponge is too thready. Was it a fossil?  No – a fossil would be heavier. Then we had a closer look at its pointy top: (more…)

It’s the third birthday of the Specimen of the Week blogs, so this one is a special one, tackling one of the biggest events in global history (no exaggeration). It’s also the start of winter term at UCL, and that means that Grant Museum returns to doing the very thing our collections were first put together for – spending the day teaching students about life.

This term every week we have a palaeobiology class where the students learn about vertebrate life from the beginning – looking at each group in turn as they evolve in the fossil record. That has inspired my choice of specimen this week.

As an Australian mammal nerd, it’s often tempting to think that nothing interesting happened between the appearance of multi-cellular life a little over 500 million years ago, and 200 million years ago when the first platypus-ish things appeared*. However, sometimes it’s important to think about where it all began: the fishy animals without which there would be no you, no me, no internet cats, and no platypuses.

This week’s specimen of the week is… (more…)

As a scientist, with Vulcan-like levelheadedness, my outlook on the natural world is totally free of emotion. My interactions with it are purely perfunctory, in order to amass and analyse cold data, motivated solely by the advancement of scientific understanding of solid facts. The world is only there to be databased. It is irrelevant whether facts are “interesting” or not, all that matters is if they are useful for detecting some larger pattern. Anyone who says otherwise is a panda-hugging sentimental fluff-monger…

Wouldn’t it be weird if ecologists thought like that? On the one hand science is supposed to be independent of emotion, but on the other most of us are only in it because of our emotional attachment to the subject matter (animals and ecosystems).

Normally on this blog I take the chance to rave about the animals that amaze and excite me. This week I’m going to highlight one that I utterly despise*.

This week’s Specimen of the Week is… (more…)

Today, in Australia, is National Threatened Species Day, but far more importantly. to Grant Museumers, it’s Thylacine Day. Both of these events commemorate the ludicrously avoidable death of the last known thylacine – modern times’ largest marsupial carnivore – on 7th September 1936. Today, for the first time, I am actually in Australia for 7th September, so in this year’s annual Thylacine Day post I’d like to explore what it is about Australian mammals that makes me go all nerdy – the shear diversity of tiny things, that on the whole people have no idea about. (For more on the thylacine, including why we celebate it so hard at the Grant, look through previous Thylacine Day posts on this blog).

The area of zoology I am most passionate about is Australian mammals, and as a result I spend 8-10 weeks each year over here trapping animals for conservation NGOs and university research programmes. As far as I’m concerned, although there are just 378 mammal species in Australia, it’s the best fauna there is. You only have to go 50km and you might find a whole new set of mammals. Australia has a lot of things going for it, but I will shout you down if you argue that any of them outshine the wildlife and ecosystems. The thing is so few people here, or elsewhere, have ever heard of most of them. Sure, people know that kangaroos and wallabies exist – they are the national icon, but go into any business and ask what kind of wallaby is chewing on its lawn and you’ll probably get a blank response. There are 45 species of Australian kangaroo and wallaby (excluding bettongs and pottoroos). People’s lofts and gardens are pested by possums (nearly always one species – the brushtail), but there are 25 different kinds. Once you get beyond these, koalas, wombats, dingoes, platypuses, echidnas and “bandicoots” (11 species), the rest of the Australian mammalian fauna, I fear, goes largely unloved.

I’m not whinging about the fact that people don’t see tiny mammals and instantly know what it is. I just want to take the time to give them a shout-out.
(more…)

The answer to that question is no, we can’t label everything. We’ve just installed 600 new labels in the Museum, as a result of visitor feedback. But have we got the balance right?

Some of the 600 new
labels being unpacked

There are about 6000 animal specimens on display in the Grant Museum (which, incidentally, is more than is on display at the Natural History Museum), including about 2300 in the Micrarium. The room is only about 250m², and this means our displays are very densely packed. We are hugely keen on specimens at the Grant – providing close access to real objects is one of our biggest selling points. For this reason (and also because we don’t have a lot of storage space), we put as much out on display as is logistically possible.

Drawbacks of dense displays

As much as people tell us they think of the Grant Museum as a room crammed with amazing rare things creating with an atmosphere that promotes exploration, filling every spare gap with objects does have its downsides. Some people think that displays should give each object its own space to breathe, allowing people to concentrate on them, but we’ve made the decision to go in a different direction. Plenty of other museums use this sparse display philosophy – but if you want to be immersed in a real and different celebration of objects, come to the Grant Museum.

The major drawback of jam-packed cabinets is that there isn’t a lot of room for labeling. (more…)