Hello and welcome to the next instalment of Specimen of the Week. This week’s specimen is a mighty claw (LDUCZ-H671) from the lobster species Homarus gammarus, also known as the European or common lobster. Lobsters are great, whether you like them to be freely going about their lives at the bottom of the sea or perhaps prepared by a chef on a dish with some butter. Either way, I am fairly certain there are aspects of their lives you are unaware of and this blog will hopefully either make you hungry for more knowledge or perhaps just dinner.
The Grant Museum’s current exhibition – The Museum of Ordinary Animals: The Boring Beasts that Changed the World - explores the mundane creatures in our everyday lives. Here on the blog, we will be delving into some of the stories featured in the exhibition. This week we investigate some of the Ordinary Animals on loan from the Petrie Museum of Egyptian Archaeology.
Ask anyone about ancient Egypt and standard responses generally include pyramids, mummies, Tutankhamun, and sometimes (if you’re lucky) animals. Ancient Egyptians were keen observers of their natural environment and are well-known for representing all manner of flora and fauna in their artistic works. Gods and goddesses were also associated with particular animals and their behaviour: for example, the jackal god Anubis guarded the cemeteries of the dead, just as real jackals roamed the desert edge. What is perhaps less well-known is how ancient Egyptians considered the ‘ordinary animals’ who lived side-by-side with them in the Nile Valley. Egyptians utilised a wide variety of wild animals and some of these were domesticated, some kept as pets, and others were considered as vermin – just as they are today.
It’s been a busy month for us at the Petrie Museum, not only gearing up for the start of the autumn term but also preparing object loans for upcoming exhibitions. Our vast collection offers many opportunities to contribute to varied exhibition narratives: our objects illustrate life in the Nile Valley over thousands of years, from Prehistory through the pharaonic period and right through to the Greco-Roman, Coptic and Islamic periods. We also hold a world-renowned collection of papyrus, which is the focus of our ongoing Papyrus for the People project funded by Arts Council England. We have loaned papyri to three very different exhibitions this September, which each tell fascinating stories of life and death in ancient Egypt. (more…)
Why natural history museums are important. Specimen of the Week 278: The British Antarctic Survey LimpetsJackAshby10 February 2017
There is much more to a natural history museum than meets the eye, and that’s mostly because relatively tiny proportions of their collections are on display. At the Grant Museum of Zoology we are lucky enough to have about 12% of our collection on display. That’s because we have a lot of tiny things in the Micrarium and our collection is relatively small, with 68,000 objects. While we REALLY like to cram as much in our cases as is sensible, these percentages are not realistic for many museums, whose collections run into the millions.
The vast majority of specimens in natural history museums, ours included, were not intended for display, and that includes this week’s Specimen of the Week… (more…)
Lighting in museums is a curious thing. It can make or break an exhibition. It can make a dismal space beautiful, or vice versa. At the same time, subtle changes in lighting can have a meaningful effect on the amount of time that we’re able to display objects before they deteriorate past the point of no return. An example of one such subtle change might be the colour of the light. A barely noticeable change in colour could have a drastic effect on the damaging power of the light depending on the technology being used. (more…)
Human remains at the Petrie Museum. It’s time to come out of storage!
Death is part of life, and for me, death is very much a part of work since I am currently rehousing the human remains at the museum. In February, I attended a seminar at the Institute of Archaeology (IoA), PASSING ENCOUNTERS: The dead body and the public realm, the purpose of this was to stimulate discussion about death in an open and frank manner. I joined to learn more about how human remains are portrayed in social media and to gather people’s opinions on death. But, I learned much more than that; how a body decays, what different stages of decay smells like (See Fig.1.), and how death and the body have been portrayed throughout history
Recently I was helping an artist, Kristina Clackson Bonnington, with some research into the collections I look after. Kristina is working on an event for this year’s International Women’s Day, and is starting to plan for the centenary of women getting the vote in the UK (2018). While discussing her project I thought it would be interesting to see what Jeremy Bentham’s thoughts on women’s rights were. I’m very pleased to say that he had some modern sounding ideas…
As with all my questions relating to Bentham’s life and works my first port of call was the friendly people at the Bentham Project. Their initiative ‘Transcribe Bentham’ is working to publish all of Bentham’s manuscripts and is finding now information all the time. One recent manuscript they sent me is pictured below, and rather wonderfully shows Bentham arguing for the use of gender neutral pronouns.
When both sexes are meant to be intended, employ
not the word man– but the word person
26 When both sexes intended employ person not man
Let it be understood that when the word person is
thus employed he the pronoun masculine includes the female
sex as well as the male (more…)
“Isn’t the Grant Museum wonderful! It’s such a cabinet of curiosity!”
This exclamation is clearly meant as a rich endorsement of the Grant Museum – it’s obviously intended as a compliment. Nevertheless, it makes me wince.
Inspiring curiosity and wonder is surely among the highest ambitions a museum could ever have. It’s infinitely more important than making visitors learn something. Curiosity? I am a huge fan. Cabinets? We definitely have some nice ones. Cabinets of Curiosity? No thanks.
For me, this term implies that our objects are nothing but curios – weird artefacts amassed by some eccentric collector. Erratically accumulated in another time; weird and wonderful titbits intended to impress; to show off the collector’s status and influence – “Gosh, Sir William! Where did you get that ghastly tenrec!?” (more…)
This is a provocation I wrote and presented at ‘The Future of Museums’ Conference, held at UCL in 2014. Having attended a few seminars and conferences in the sector recently, I feel the need to share it with a wider audience. The text appears as I presented it at the conference, with added links for your delectation and miniscule adjustments to diction and syntax to make me sound cleverer.
My provocation was: “In the future, no object should ever enter a museum collection on the assumption that it will be there forever.” Looking back, that’s pretty tame. What I meant to tell you was that, if I ever get round to writing one, my ideal Collections Development Policy would consist of just 5 words:
“Burn it. Burn it all.”
This is a guest blog by Felicity Winkley, one of the student engagers who work with UCL Museums. To find out more about the student engagers project please visit their website.
Last term, the UCL Student Engagers used objects from across the UCL collections to curate a six week exhibition at the North Lodge, called Stress: Approaches to the First World War.
The project, as we’ve discussed previously on our own blog, was an interdisciplinary, co-curated effort, approaching the topic of the First World War through four interpretive themes: physical stress, mental stress, cultural or societal stress, and stress on the landscape.
One of the objects we chose to highlight the mental stresses caused by the conflict and, by association, the improvements in the way mental health was approached by the end of the war, was a ‘strobe machine’. As part of the physiology collections, catalogued alongside objects like an auditory acuity tester and a set of keys for tapping multiple-choice responses, it was assumed that this light had similarly been used in psychiatric experiments to test participant responses. From our point of view, it also helped that it looked good.
For several weeks of the exhibition’s run, the object was a successful talking point. (more…)