After visiting the La Brea Tar Pits and the Natural History Museum of Los Angeles County, we headed to Claremont to check out the Raymond M. Alf Museum of Paleontology. I had heard lots of good things about the Alf Museum and have been wanting to check it out for some time. Many, many thanks to Curator Andy Farke (as well as Lucy Herrero and Gabriel Santos) for generously taking the time to show us around!
The Alf Museum is extremely unique. Located at the Webb School in Claremont, it is the only nationally accredited museum on a high school campus. The museum grew out of the collection of Webb teacher Raymond Alf. Though he was not a paleontologist by training, Alf became hooked on fossils after finding a Miocene peccary skull on a 1936 trip to the Mojave Desert. Alf continued to take students fossil hunting year after year, building a sizable collection in the basement of the library and any other storage space he could find. In 1968, alumi and school administrators came together to establish the non-profit Alf Museum, with Raymond Alf himself serving as its first director. Alf passed away in 1999, but lived long enough to see his museum become an internationally recognized research institution.
Webb School students continue to take an active part in collecting and research at the museum. All students go through a paleontology course in 9th grade, and about a fifth of the student body remains involved afterward. 95% of the museum’s 140,000 fossils were found by students on “peccary trips” to California, Utah, and Arizona. Students also lead tours and work in the state-of-the-art fossil prep and digitization labs. To date, 28 students have co-authored technical papers before graduating, all of which are proudly displayed at the museum.
There are two exhibits at the Alf Museum, each taking up one of the two floors. The lower level houses the Hall of Footprints, which was last renovated in 2002. This exhibit showcases one of the largest fossil trackway collections in the United States. Trace fossils on display range from Permian reptiles and insects to Cenozoic elephants and camels, as well as important holotypes like the world’s only known amphicyonid (bear-dog) trackway. To quote Dr. Farke, much of the footprint collection was acquired by “being stupid.” Despite being miles from any road, Alf and his students would cut colossal track-bearing slabs out of the bedrock by hand. Between the logistical problems and the availability of digitization techniques like photogrammetry, few modern ichnologists would condone Alf’s practices. On the other hand, his recklessness ensured that these fossils are available for study today, even after many of the source localities have weathered away or been vandalized.
The main level’s Hall of Life is a more traditional walk through time, but with an Alf Museum spin. Visitors follow the circumference of the annular building, starting with the origin of the universe and progressing chronologically through the major milestones in the evolution of life on Earth. The bigger, showier aspects of the exhibit are not unique to the museum. There’s a cast of the Red Deer River Centrosaurus from the American Museum of Natural History, and a composite cast of a Cleveland-Lloyd Allosaurus. A model of the famous transitional fish Tiktaalik has an identical twin at the Field Museum. Like many modern exhibits, walls are filled in with large murals and a varied color palate is used to demarcate themed sections. Different audio tracks throughout the exhibit are subtlety employed in the same way (the sound of buzzing prairie insects symbolizing the rise of grasslands in the Cenozoic is particularly inspired).
Once one looks past the more ostentatious parts of the display, the Alf Museum really gets interesting. Since Dr. Farke was involved in the Hall of Life’s 2011 renovation, he could explain the design choices in detail. Some of these follow Farke’s own sensibilities. For instance, the scientific method and the evidence for evolution are strongly emphasized. Most labels are implicitly written to answer the question how do we know? Interactives tend to be of the analog variety, and multimedia is only used to illustrate things that could not be effectively shown with a static display. One example is a video where a computer model of a pterosaur skeleton demonstrates the quadrupedal launch hypothesis.
Nevertheless, in both large and small ways the main themes of the exhibit are modeled after Raymond Alf’s own teaching philosophies. Following Alf’s lead in trusting students to treat specimens mindfully and respectfully, many objects are not in cases and within arm’s reach. The circular halls harmonize with the “spiral of time,” Alf’s preferred metaphor for the geological record (and circles and spirals are a recurring visual motif throughout the museum). Perhaps most importantly, the Hall of Life’s walk through time doesn’t end in the past but in the present. This final section includes nods to the archaeological record, as well as cases featuring new research and discoveries by Webb School students. The message is that despite our short time on Earth, humans have had a profound impact on the planet and every individual has a part to play in the larger story of the universe. As Alf repeatedly asked his students, “what are you going to do with your moment in time?”
The most thought-provoking thing that Farke told me was that the Alf Museum is intended for three distinct audiences. There are the regular museum visitors, seeking a generalized look at paleontology. Then there are current Webb School students, who make use of the museum as part of their classes. Finally, there is the larger cohort of Webb alumni, who want to see specimens they remember from decades past (including fossils they collected themselves) and to reflect on their time at the school and on Raymond Alf himself. It is the nods to this third group that make the Alf Museum’s exhibits uncommonly special. Even as an outsider who had never met a Webb student and was just learning about Alf’s legacy, I found that the museum has a palpable sense of community.
Between the photos of beaming students on peccary trips to the unattributed Raymond Alf quotes printed high on the walls, the shared experiences of the Webb School community are intractably situated within the exhibits. Objects on display are illustrative specimens, but they are also more. Each one represents a rich tapestry of people, places, and experiences, and embodies a sort of collective memory starting with its discovery and extending into the present day. For me, at least, this is what natural history is all about.