Contents tagged with exhibits
Created: 12/1/2014 Updated: 8/8/2016
This week's blog post was contributed by photographer and author Amy Gulick. Her exhibit "Salmon in the Trees" is currently on display at the Nature Museum, just outside the "Rainforest Adventure" exhibit. You can learn more about her and her work by visiting her website.
As a nature photographer and writer, I am always on the lookout for interesting stories. One day, I read an article that talked about a remarkable connection between the salmon and forests of Southeast Alaska. It was such a bizarre concept that I knew I had to go to our nation’s largest state and tell this story. That was seven years ago, and I’m still telling this incredible story – through my book “Salmon in the Trees,” a traveling exhibit, two permanent exhibits in Alaska, a website, a YouTube video, and a Facebook page.
People think the title of my book is a metaphor, but when I explain that there really are salmon in the trees I get a lot of quizzical looks. It goes something like this: salmon are born in freshwater streams and rivers, head out to the oceans to mature, and then return to their birth streams as adults to spawn the next generation. In Alaska’s Tongass National Forest there are close to 5,000 spawning streams, and every summer and fall millions of wild salmon provide a bounty of food for some of the world’s highest densities of both brown (grizzly) and black bears. The bears carry a lot of salmon away from the streams and into the forest. Over time, the nutrients from the bodies of the salmon decompose and the trees absorb them through their roots. Scientists have actually been able to trace a marine nitrogen – Nitrogen 15 – in trees near salmon streams that links directly back to the fish. It’s an unexpected and yet perfectly natural connection.
Once you understand this remarkable connection, you quickly see how everything is connected in the Tongass – the salmon, trees, bears, eagles, sea lions, killer whales, and people. It’s a glorious cycle of life that is still intact, and I want people to know how special it is.
Amy GulickView Comments
Photographer and Author
Created: 9/22/2014 Updated: 8/8/2016
The following post was contributed by artist and photographer J.J. L’Heureux. L’Heureux’s prints of Antarctica and the Southern Ocean are currently on display as part of the Nature Museum’s exhibition “Faces from the Southern Ocean.” In this post, she describes visiting Antarctica’s Snow Hill Island Emperor Penguin Rookery and some of the snowy challenges she and her group encountered.
I was raised in Michigan and I am not unmindful of harsh winter conditions. The trip to the Snow Hill Island Emperor Penguin Rookery added some new twists on winter. In order to visit the rookery we had to helicopter from the ship to a landing site about two kilometers from the rookery and behind a grounded iceberg. The first day we did this the day was lightly overcast, a little windy and just a bit cold.
Weddell Seal Pup (J.J. L’Heureux)
Antarctica is all about snow and what 100,000 years of snow looks like in all its forms. There is an enormous amount of ice that was really snow that did not melt. Antarctica is also the driest continent on Earth and yet it has most of the fresh water of Earth locked up in the ice that can be miles thick. The ice is created by snow falls that generally do not melt. From year to year, these snow falls build up on one another and ice is created by the pressure of each new layer covering the thousands of previous snow falls. The skin on top is often crusty snow or ice particles. When a wind comes up blizzard conditions can develop almost immediately, even if there are no clouds or fresh falling snow. The wind-driven snow then acts like a Zamboni on a hockey rink. The ice that lies beneath the crusty skin becomes extremely smooth and slippery. The higher the velocity of the wind, the harder it becomes to walk on the very smooth, slippery ice. These conditions briefly describe the second and third days on the ice south of Snow Hill Island. It was challenging to walk upright; the high wind and slick surface were difficult for everyone including the penguins. In fact, most of the Emperors were tobogganing across the ice rather than walking to the open sea to fish seven or eight miles away.
Emperor Penguin Chick (J.J. L’Heureux)
Drifting snow/ice crust builds up when the sun melts the surface covering and it then freezes during the night and stays frozen until the sun comes out again or there is a new snow fall. There were drifts to be negotiated on the back and forth treks across mostly barren slippery ice to the rookery. Since the crusty surface of the drifts had been wind swept away one sometimes found themselves in knee deep or waist deep drifts that would not support your weight. The smart thing then was to play follow the leader, just like the penguins, and make a path through these drifts. These paths are always blazed by a lead party that checks for crevices or other hidden dangers and they lay out a red flag marked trail. At one point I stepped one foot off the path and went into the drift such that I could not free myself. Fortunately, right behind me was Russ Russell, a mining engineer from Guernsey, who is easily 6' 6" and capable of Superman feats. He just reached out and like the cranes that bring the zodiacs aboard, lifted me effortless from my snowy prison. Keep in mind that we were working against high winds and vertical snow. The second and third days were the most difficult for me because the cloud cover contributed to colder conditions and much darker lighting.
This provides a sense of the conditions for the three particular days of the Snow Hill Island Emperor Penguins Rookery landings, and under these conditions many wonderful and special events took place that one can only marvel at in their uniqueness.
Read more about J.J. L’Heureux’s experiences in the Southern Ocean and Antarctica by visiting her blog. You can also learn more about her work by visiting her site, Penguinspirit. Get a glimpse into the world of the Southern Ocean by visiting the “Faces from the Southern Ocean” exhibition, now on display.View Comments
Created: 3/17/2014 Updated: 8/9/2016
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When you visit the Nature Museum, you will definitely notice that something is missing on the first floor…our polar bear mount. It has been temporarily moved to the second floor of the museum to become part of our latest exhibit, Nature’s Struggle: Survival and Extinction. Moving a mount this large, even from one floor to another, takes some planning and plenty of help.
Although the polar bear is mounted onto a base that has wheels, at just under 10 feet tall it was not a simple matter of pushing it onto our freight elevator. Before any of our specimens are moved, we plan out how we are going to get them safely moved to their desired location, particularly tall, heavy mounts like the polar bear. Impediments in this case were hanging light fixtures, an archway, watching out for museum visitors since we had to move the mount during museum hours, and the mount itself (those claws are still extremely sharp).
In this case we decided the safest way to move it was to place it on its back on large, wheeled platform that would provide support during the transition. The most delicate part of the procedure was in lowering the mount onto its back. It needed to be done smoothly so that we did not cause any torque, or twisting, to the mount that could result in damage to the internal armature, or structure.
Mounts like this one are typically attached to their bases by long bolts that extend through their legs and feet that are secured by nuts on the underside. If one of these bolts were twisted or broken the mount would no longer be able to support itself when put back into its upright position. Once the polar bear was successfully placed on the wheeled platform, it was taken to the freight elevator and then moved into the second floor gallery, where it was lifted back up into its standing position.
Come see the polar bear, as well as other specimens and objects from our collection in
Nature's Struggle: Survival & Extinction.
Amber K. KingView Comments
Assistant Collections Manager
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Created: 6/21/2013 Updated: 8/9/2016
In June 1913, the Chicago Academy of Sciences presented an exhibit to its visitors unlike any other. It was a planetarium where, unlike others of the time period, visitors could walk inside to experience the night sky while the apparatus rotated around them.
Atwood Celestial Sphere at the Academy’s Laflin Memorial Building, c1926
The Atwood Celestial Sphere was designed by and named for Wallace W. Atwood, who served on the Academy’s Board and briefly as Acting Director of the museum. Mr. LaVerne W. Noyes, President of the Board of Trustees, had the structure crafted by his company, Aermotor Windmill Company, and donated it to the Academy.
Wallace W. Atwood inside the Atwood Celestial Sphere
Atwood Celestial Sphere, c1913
The sphere, constructed of a thin galvanized sheet metal, was only 15 feet in diameter. Tiny perforations in the exterior of the sphere allowed light to penetrate, appearing as stars to those viewing from the inside. Atwood designed the celestial sphere to portray the stellar sky as seen from Chicago and visitors would watch as the sun, moon, and stars rotated around them in simulation of Earth’s orbit through the solar system. The sphere was utilized heavily for educational programs at the Academy. School groups, clubs, and other visitors would tour the sphere, with programs often led by Atwood himself during his time with the Academy.
Wallace W. Atwood with children inside the Celestial Sphere
The stars were positioned with such mathematical precision that in 1941, the U.S. Navy began incorporating use of the Atwood Sphere in navigational training exercises for the U.S. Naval Reserve Unit stationed on the Chicago Campus of Northwestern University. Modifications were made to the Sphere to accommodate these trainings, including the installation of a meridian (an arc that follows the circumference of the sphere and passed through the zenith) and movable arm with which to measure the zenith angle – the distance between the zenith (the point directly overhead) and any star.
Atwood Celestial Sphere at the Academy’s Laflin Memorial Building, c1920s
In the 1960s, the Academy began extensive redesign of its exhibits and developing life zone dioramas created by William Beecher and Academy staff. The exterior of the Atwood Celestial Sphere was painted to look like the Earth and the ceiling of the Laflin Building painted to look like the night sky to blend more readily with the new exhibits.
Thurston Wright working on the Atwood Celestial Sphere, c1950s
Atwood Celestial Sphere with the exterior painted to look like Earth, c1960s. William Beecher in the foreground and Thurston Wright in the background.
The Atwood Celestial Sphere was transferred to the Adler Planetarium in 1995 when the Academy vacated its Laflin Building, where it currently resides.
Dawn RobertsView Comments
Created: 2/20/2013 Updated: 8/10/2016
Internationally known artist Jennifer Angus was at the Nature Museum in November to install her exquisite artwork in the south gallery of our second floor. It took three days and several pairs of hands to cover the gallery with insects from Malaysia, Thailand, French Guiana, and Papua New Guinea. I was able to help along with Jennifer’s assistant, a few other staff and a dedicated volunteer. It was neat to see the project unfold before my eyes. My favorite part was hearing the “oohs” and “ahs” as the elevator doors opened and visitors caught their first glimpse of the space.
Prior to her arrival, Jennifer had sent us the specifications for her design. The walls were painted a cool aqua color with yellow polka dots. In order to create the vertical lines in the pattern, she started by setting up a thread grid along the walls.
Using a hammer and special insect pins, we delicately placed each insect along the grid in an alternating pattern. Some insects needed an extra bracing pin to stay in position.
Jennifer’s artwork resulted in a whimsical design of flower-like shapes that draw the eye up and down.
You can learn more about the artist and her intent by visiting the gallery. We are delighted to have this unique installation at the Nature Museum, and we hope you get a chance to see it soon!
Created: 2/13/2013 Updated: 8/10/2016
The Nature Museum continually evaluates visitor usage of our permanent and temporary exhibits. Why do we do it?
According to Exhibit Evaluator Hannah Im, “It is important for us to know how visitors experience different exhibits. It allows us to understand how they are currently used, and what improvements we can make in the development of upcoming exhibits.”
At the Nature Museum, we use two methods to collect data on exhibit usage- observation and interviews.
Observation: You may have seen our volunteer evaluators in the galleries with clipboards and stopwatches. They are observing visitors and collecting data about time spent in the different areas of an exhibit.
Interviews: As you leave an exhibit, you may be approached by another volunteer with a clipboard. These volunteers are collecting information about what visitors learn during their time in an exhibit.
Using these methods, our Exhibits team is able to build a clear picture of how visitors use exhibits, what they learn, and suggestions for improvement. Please do your part to improve our exhibits by completing the short questionnaires when requested. You may even get a sticker!
Volunteers are essential to the Nature Museum’s exhibit evaluation project. Volunteer Allan Zemsky has been working with us on the project for almost a year. Alan says, "I enjoy Visitor Studies at the Nature Museum because you get to observe our guests in action at the various exhibits. I can in turn give feedback to the administration so they can better assist our guests in the future."
Interested in volunteering with the exhibit evaluation team? It’s a great behind-the-scenes way to contribute with flexible hours to fit your schedule. Just email email@example.com to get started.
Heather GranceView Comments
Manager of Public Programs