Interpreting nature: shifts in the presentation and display of taxidermy in contemporary museums in Northern England
Taxidermy is an organised craft which synthesises preserved animal skins with man-made materials to recreate a resemblance of living animals. As products of a cultural practice, displayed and interpreted in museums for the public, taxidermied animals are material manifestations of contingent value judgements. Despite the now widely held view in museum studies that the meanings of museum objects are constructed through their interpretation and reception, and therefore can have a multiplicity of meanings, many museums today continue to present and interpret taxidermied animals as objective species representatives. Although scientific themes continue to be privileged by many museums which maintain natural science as a discrete discipline, various social, ethical and political themes relating to the environment and to relationships between people have become more pronounced in recently redeveloped museums. Using Leeds City Museum, the Great North Museum: Hancock, and Museums Sheffield: Weston Park as case studies, this thesis investigates these changes to trace wider cultural shifts in politics, ethics, education and science. By analysing the frameworks within which museums and their staff operate, this investigation is concerned with the relationship between discourse and social practice in the form of museum exhibitions as a means of creating knowledge. It highlights how the public understanding of the natural world is more mutable than some of the enduring traditions of science may suggest, and how the discourses on science, and the objects through which they are articulated, are subject to cultural shifts which put their meanings in flux. 
This study is both part of, and a response to, an expanding field in museum studies and material culture studies which re-frames taxidermy objects as culturally contingent and therefore reflective of the subject positions of their makers, and the broader contexts of their making. In collating and investigating a diverse collection of archival material, this study recovers some of taxidermy’s histories, and contributes to the historical discourse on the display and interpretation of museum collections.
Repair work: surfacing the geographies of dead animals
An artist and a geographer asked the same question: what is a zoological specimen and how can it be used? Considerable attention has been paid to the ‘finished’ form and display of taxidermy specimens inside cabinets, behind glass – in other words to their representation. We challenge the priority given to representation by getting under the skin and behind-the-scenes to show how specimens have been entangled ‘in life’ as well as how we have creatively taken part in their ‘afterlives’. These efforts are aligned with work in cultural geography seeking to counteract ‘deadening effects’ in an active world (Thrift and Dewsbury 2000), and stay alive to the ‘more-than-representational’ aspects of life (Lorimer 2005). The paper documents two of our experimental attempts to revive and repair zoological specimens and collections, work which was underlain by observations of taxidermy practice. First we show how the creation of a ‘webarchive’ offered an expanded repertoire of interpretation and engagement for an extremely rare zoological specimen. Secondly, we show how a temporary exhibition in a zoology museum highlighted the transformative potential of crossdisciplinary efforts to re-present zoological material.
Kitchen Conversations: Democracy in Action at the Lower East Side Tenement Museum
Abstract This article describes the Lower East Side Tenement Museum9s ongoing public dialogue on immigration, the first in the United States. As she joins facilitators in reflecting on the importance of dialogue in a democracy, museum president Ruth J. Abram explains how and why the program was initiated, the obstacles that had to be overcome, and the public reaction to it. Kitchen Conversations represents the museum9s commitment to the proposition that historic sites must function as places of civic engagement, using the history they interpret as a starting place for dialogue on related contemporary issues.