In both paleontology and the museum field, we’ve long contended with what one might call “the Osborn problem.” The legacy of Henry Fairfield Osborn, paleontologist and president of the American Museum of Natural History between 1908 and 1933, is quite important to both fields. To paleontologists, he is known for accumulating at AMNH one of the largest and most exhaustive fossil collections in the world, for financing and supporting the careers of legends like Barnum Brown and Charles R. Knight, and of course for naming and describing saurian celebrities like Tyrannosaurus and Velociraptor. Osborn is also well-regarded by museum specialists for heightening the standards for public exhibitions, investing in lifelike habitat dioramas of taxidermy animals and spectacular mounted dinosaur skeletons in order to make science exciting for a wide audience. Osborn’s devotion to storytelling and drama in the exhibits he curated brought millions of visitors to AMNH and quite literally defined public expectations for what museums should offer to this day.
In recent decades, however, historical interest in Osborn has been mostly focused on his disreputable personal and political beliefs: Osborn was a flagrant racist and anti-Semite, an admirer of Adolf Hitler and a strong supporter of research in eugenics. Osborn regularly used his clout to bring material harm to the American working class, lobbying for legislation including the Emergency Quota Act and the Immigration Act of 1924. For what it’s worth, Osborn was also apparently unbearably arrogant and truly dreadful to work with, going as far as to demand lower-ranked museum employees leave the elevator car when he got on.
All this puts paleontologists and museum specialists in an awkward position. Is it acceptable to admire Osborn’s positive achievements in light of his personal politics? After all, Osborn’s views were not terribly unusual among the aristocratic class of his day. Perhaps we shouldn’t condemn the man entirely for not “rising above his time and place” (as Stephen Ambrose argues regarding coming to terms with Thomas Jefferson the slave owner).
Unfortunately, Osborn’s case is complicated by the fact that his bigotry inspired (or at least contributed to) much of his work at AMNH*. To start, Osborn’s scientific work was based on an inaccurate orthogenetic interpretation of evolution. He professed that an ill-defined guiding force shaped life from lesser to greater forms, the effect of which could be seen by comparing “primitive” and “advanced” species, and of course, “primitive” and “advanced” expressions of humanity. While we cannot conclusively link Osborn’s pseudo-evolutionary ideas with his bigoted social agenda, it is certainly convenient for him that he saw people of “Nordic” descent as biologically superior.
*To clarify, none of the exhibits curated by Osborn remain on display and none of my comments here apply to the present day AMNH.
Critically, Osborn’s did not keep his ideas of natural hierarchy in the ivory tower. He explicitly intended that the exhibition halls of AMNH educate visitors not just about natural science but about the naturally graded order he believed to be characteristic of life on earth. Osborn thought that collections of biological specimens implicitly revealed an upward ascent of life, and that those on top had earned their place through innate superiority. Osborn pronounced that his exhibits would teach morality to new American immigrants, presumably by putting them in their place with the rather hideous racial hierarchy on display in the Hall of the Age of Man. As Donna Haraway puts it in her classic essay Teddy Bear Patriarchy, Osborn’s exhibits were a “gospel of wealth and privilege” that appropriated natural specimens to affirm the American elite’s place at the top of the pecking order.
Museums are understood to be sources of intellectual authority, and deservedly so. But exhibits have authorship, same as any other written work, and Osborn’s legacy demonstrates that the influence of authors and their worldviews can be a powerful force. For example, Osborn arranged the Hall of the Age of Man in what he saw as ascending order, from the ancient peoples of Africa, to North America and finally Europe. Placed at the end of an exhibit series that started with Cambrian insect fossils before passing through Paleozoic, Mesozoic and Cenozoic fossil displays, the Age of Man gallery deliberately implied that European-descended humans were the culmination of the entire history of life on Earth.
Meanwhile, the exhibit on fossil horses curated by Osborn depicted small, multi-toed horses of the Eocene gradually becoming larger, losing toes and becoming better at being modern Equus. This orthegenetic representation runs counter to evolution via natural selection as originally proposed by Darwin, and as understood today. Indeed, other paleontologists, including O.C. Marsh, had established in the 19th century that horse evolution more closely resembled a tangled bush, with many overlapping morphological offshoots adapted to varying environmental circumstances. But Osborn had rejected Darwinian evolution in favor of his presumed hierarchy of life, and ensured that his inaccurate story was what was seen by millions of visitors.
So what does Osborn’s legacy mean to paleontologists and museum specialists today? Do we need to qualify every mention of his name with a denouncement of his worldview? Should we always write out “Tyrannosaurus rex Osborn, 1905″ as “Tyrannosaurus rex Osborn the racist jerk, 1905″? At minimum, Osborn’s exhibits are a sobering reminder to all us involved in science education that our field is not immune to bias. The subjectivity of cultural and historical museum exhibits has been well-explored by scholars like Ames and Weil, but comparatively little reflection has been done on the authorship of exhibits on science and natural history. We rely on the “naturalness” of the objects we display to speak for itself, and to bear the burden of proof for the statements we make. Do not misunderstand, I don’t mean to support the nonsensical view that objective truth does not exist. The world around us is knowable, and science is the best tool to learn about it. But explaining what we have learned in any form (books, technical journals, museum exhibits) is an avenue for personal or cultural bias to slip in, and that is why it remains important to actively and regularly check our assumptions.
Ames, M.M. (2004). Museums in the Age of Deconstruction. In Reinventing the Museum: Historical and Contemporary Perspectives on the Paradigm Shift. Lanham, MD: AltaMira Press.
Brinkman, P.D. (2010). The Second Jurassic Dinosaur Rush: Museums and Paleontology in America at the Turn of the Twentieth Century. Chicago, IL: University of Chicago Press.
Colbert, E.H. (1968). Men and Dinosaurs: The Search in Field and Laboratory. New York, NY: E.P. Dutton and Co., Inc.
Haraway, D. (1984). Teddy Bear Patriarchy: Taxidermy in the Garden of Eden, New York City, 1908-1936. Social Text 11:20-64.
Kohlstedt, S.G. (2005). Thoughts in Things: Modernity, History and North American Museums. Isis 96:586-601.
Osborn, H.F. (1921). The Hall of the Age of Man in the American Museum. Nature 107:236-240.