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Journal articles on the topic 'Smithsonian'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 June 2025

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1

Bain, Alan L. "Smithsonian Institution—Museum and Institutional Archives Programs." Collections: A Journal for Museum and Archives Professionals 3, no. 2 (2007): 155–62. http://dx.doi.org/10.1177/155019060700300205.

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The Smithsonian Institution Archives is responsible for the Smithsonian's records of enduring value. Though the Institution was aware of the need to keep certain records permanently (dating back to 1852) and an archivist was first assigned the task of maintaining records and special collections in 1891, the first modern archives program did not begin until 1967. From its very beginning the Smithsonian collected personal papers and special collections and this trend has been continued by the Smithsonian Archives.

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2

Martinez, Katharine. "The Art Libraries and Research Resources of the Smithsonian Institution." Art Libraries Journal 13, no. 1 (1988): 9–13. http://dx.doi.org/10.1017/s0307472200005484.

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The Smithsonian Institution, a public organisation established in 1846 “for the increase and diffusion of knowledge”, includes ten museums and several research bureaux. Most but not all of the associated libraries are linked through the Smithsonian Institution Libraries; they include several art libraries which contribute significantly to the overall provision of art library service to the American people but do not of themselves constitute a “national art library”. Most of the Smithsonian’s libraries enter their records in a database (SIBIS) which is accessible online via OCLC. Co-ordinated collection development has been pursued since 1984. In two areas in particular, American and African art, Smithsonian libraries aim to provide a national service.

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3

Plotkin, Howard, and Roy Clarke. "The Controversial History of the Goose Lake, California, Meteorite." Earth Sciences History 31, no. 2 (2012): 229–46. http://dx.doi.org/10.17704/eshi.31.2.w1ltq51n15241003.

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The Goose Lake meteorite, a 2,573 lb (1,167 kg) iron, was found by three deer hunters on lava beds in the Modoc National Forest in northeast California in October, 1938. Although several California persons wanted possession of the meteorite for various California institutions, under the powers of the 1906 Antiquities Act meteorites found on US federal lands were typically transferred to the US National Museum at the Smithsonian Institution and accessioned into the National Collection of Meteorites. With authorization from the US Department of Agriculture, the Smithsonian began a correspondence with one of the meteorite's finders to arrange for its retrieval. But the situation became complicated and controversial when meteorite collector/dealer Harvey H. Nininger (1887-1986), who harboured hopes that the meteorite might be on a parcel of private land in the National Forest, falsely presented himself to the finder as a Smithsonian agent, and was taken to the site of the meteorite. A survey showed the meteorite was on federal land, however, and the Smithsonian reluctantly allowed Nininger to oversee its recovery. During the time that the meteorite was on loan from the Smithsonian and on exhibit at the San Francisco World's Fair, considerable pressure from various California individuals and institutions was put on the Smithsonian to keep the meteorite in California, but it was accessioned into the Smithsonian's National Collection of Meteorites and shipped to Washington, DC. The controversial history of the Goose Lake meteorite affirmed the applicability of the Antiquities Act with regard to the disposition of meteorites found on US federal lands, and set the stage for the later court rulings involving the Old Woman meteorite, a large (2,753 kg) iron found on government land in California in 1976. Problematic ownership issues like those involving the Goose Lake meteorite exist in other countries besides the United States, and in other branches of natural history, especially paleontology. The Goose Lake meteorite is famous for its numerous and enigmatic large holes and cavities, and is a popular attraction at the Smithsonian's National Museum of Natural History in Washington, DC.

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4

Chin, Cecilia H., and lldiko P. DeAngelis. "Paying for services: experiences at the Smithonsonian Institute." Art Libraries Journal 22, no. 1 (1997): 20–23. http://dx.doi.org/10.1017/s0307472200010270.

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The Smithsonian Institution, a trust instrumentality of the United States, and the largest museum and research complex in the world, receives many outside permission requests to reproduce images in the Smithsonian Collections. Charging fees for photographic usage is a common practice in the United States, especially in art history and general museums. Beginning in 1992, the Smithonian established internal guidelines for changing such fees and for handling permission requests from outside sources. The procedures ensure that the Smithsonian recognises and respects the intellectual property rights associated with images in the collections and the terms of any pre-existing agreements. Great care is also taken to protect the Smithsonian’s name from use in any commercial context, to avoid the implication that the Institution endorses a product (or one product rather than another).

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5

Kurin, Richard. "From Smithsonian's America To America's Smithsonian." Museum Anthropology 21, no. 1 (1997): 27–41. http://dx.doi.org/10.1525/mua.1997.21.1.27.

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6

Redman, Samuel. "The Smithsonian at war." Journal of the History of Collections 32, no. 1 (2019): 177–90. http://dx.doi.org/10.1093/jhc/fhy061.

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Abstract This article describes the Smithsonian Institution’s involvement in World War ii. For a brief (but active) period the Smithsonian assisted the Army, Navy, and other war agencies. Museum staff eagerly shared ideas and information they had spent generations gathering; they were also willing to embrace the war effort as an opportunity to expand collections. While many museum contributions to the war effort were not made public, a book series on natural history and culture published by museum experts came to be known as the War Background Studies. Examining the Smithsonian’s response to ‘total war’, this article argues that the transformations experienced by the museum were largely temporary, with uneven levels of impact; it also explores how numerous significant intellectuals debated the museum’s future role in post-war society.

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7

Boretzky, Felicia, Walter Forsberg, Siobhan Hagan, et al. "Increasing diffusion: Rediscovering the Smithsonian’s media collections through the Audiovisual Media Preservation Initiative." Journal of Digital Media Management 13, no. 2 (2025): 124. https://doi.org/10.69554/mhmh2220.

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The Smithsonian Institution has collected, produced and exhibited audiovisual media for well over a century. This paper discusses how, during the last decade, the institution’s concerted efforts at inventorying and cataloguing the hundreds of thousands of analogue media objects in its collections have led to the development of the centralised Audiovisual Media Preservation Initiative (AVMPI). As a pan-institutional service initiative, the AVMPI’s project team, media digitisation and conservation laboratories, and best practice workflows are advancing collections care and digital access activities across the Smithsonian’s 22 museums and research centres. Software such as Airtable and a new accessibility-friendly streaming video platform built by the Smithsonian are integral to these efforts.

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8

Excell, Sarah, and Erin Huizenga. "Case Study: Engaging Learners Through Curiosity, Community, and a Sense of Exploration." International Journal of Advanced Corporate Learning (iJAC) 17, no. 1 (2024): 18–24. http://dx.doi.org/10.3991/ijac.v17i1.43021.

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This case study explores the collaboration between Smithsonian Affiliations and Desklight to develop a digital learning hub for Smithsonian’s Affiliates Program. Anchored in humancentered design, the design process relied heavily on ongoing insights from current Affiliates to identify the most useful information to share in this online resource. These insights guided the development of unique Learning Excursions within the learning hub that offered curated worksheets, real-world impact scenarios, and helped prospective Affiliates envision what it would look like to join forces with Smithsonian. The success of this learning hub is attributed to stakeholder involvement, personalized learning, real-world examples, flexible accessibility, community building opportunities, and a design thinking approach. This work serves as a blueprint for organizations aiming to enhance programs, foster meaningful engagement, and drive transformative outcomes by using learning as a benefit.

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9

Zukowski, Scott T. "Online Archives and American Studies Pedagogy Abroad: A Case Study." Anglia 142, no. 4 (2024): 645–62. https://doi.org/10.1515/ang-2024-0059.

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Abstract This essay details specific approaches to using the Smithsonian Institution’s digital archives as tools for teaching with primary resources in American Studies and Native American and Indigenous Studies classrooms beyond the United States. The applications of these strategies are transferable across the humanities and social sciences. The article is based on my experience as a 2022–2023 “Teaching with Primary Resources” Fellow with the Smithsonian’s Archives of American Art, an experience of intensive collaboration on course and assignment design with Smithsonian archivists, archival pedagogy experts, and former and current fellows. The article reflects on and presents as models the archive-based syllabus and corresponding assignments that I created as open access educational resources for the fellowship’s capstone deliverables. Through these discussions, I highlight the challenges and payoffs of using digital archives as teaching tools abroad, hoping to provide guidance and motivation for educators who may be considering whether, why, and how they might introduce digital archives into their own pedagogy.1

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10

Currie, David P. "The Smithsonian." University of Chicago Law Review 70, no. 1 (2003): 65. http://dx.doi.org/10.2307/1600545.

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11

Anonymous. "Smithsonian Fellowships." Eos, Transactions American Geophysical Union 69, no. 36 (1988): 836. http://dx.doi.org/10.1029/eo069i036p00836-02.

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12

Anonymous. "Smithsonian grants." Eos, Transactions American Geophysical Union 70, no. 38 (1989): 844. http://dx.doi.org/10.1029/eo070i038p00844-04.

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13

Saretzky, Gary D. "Smithsonian collections." History of Photography 21, no. 4 (1997): 335–36. http://dx.doi.org/10.1080/03087298.1997.10443858.

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14

SCHULZ, WILLIAM. "SMITHSONIAN FIRESTORM." Chemical & Engineering News 79, no. 17 (2001): 46. http://dx.doi.org/10.1021/cen-v079n017.p046.

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15

Beegle, Amy Christine. "Smithsonian Folkways." General Music Today 25, no. 2 (2011): 47–48. http://dx.doi.org/10.1177/1048371311425407.

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16

Ashton, Peter. "Tree Demography Plots." Sibbaldia: the International Journal of Botanic Garden Horticulture, no. 16 (July 26, 2018): 9–21. http://dx.doi.org/10.24823/sibbaldia.2018.244.

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The pantropical network of large tree demography plots coordinated by the Smithsonian’s Center for Tropical Forest Science has now gone global, as part of the Smithsonian Institution Global Earth Observatories. Some four million tropical trees, representing about 10,000 species, are now tagged, provisionally identified and periodically recensused. Some 3,000 species are captured in the six plots within Malesia. These include species rarely collected and many that are now endangered. Easy location of trees for periodic examination for fertile material and detailed ecological data, together with seasoned in-country research teams, provide unique opportunities for research collaboration.

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17

Coyle, Laura. "Right from the Start." Public Historian 40, no. 3 (2018): 292–318. http://dx.doi.org/10.1525/tph.2018.40.3.292.

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Before opening, the Smithsonian’s National Museum of African American History and Culture established a program to create digital collection records and surrogates, which play a critical role in collection care, collection accessibility, and enhancing the meaning of collections. The program is off to a good start because it supports the museum’s mission, the museum has established a dedicated “Digi Team,” the program has leadership buy-in and financial support, and other Smithsonian units have been generous with time and expertise. Also explored in this article are digitization program activities and results, the impact of digitization, and plans for the future.

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18

Camp, Charles. "Smithsonian Folklife Festival." Journal of American Folklore 115, no. 457/458 (2002): 484. http://dx.doi.org/10.2307/4129196.

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19

Weiner, Charles. "Smithsonian Science Exhibit." Science 266, no. 5182 (1994): 13. http://dx.doi.org/10.1126/science.266.5182.13.b.

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20

LaHood, Marvin J., and Gore Vidal. "The Smithsonian Institution." World Literature Today 74, no. 1 (2000): 174. http://dx.doi.org/10.2307/40155430.

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21

Jarosewich, E. "Smithsonian Microbeam Standards." Journal of Research of the National Institute of Standards and Technology 107, no. 6 (2002): 681. http://dx.doi.org/10.6028/jres.107.054.

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22

Molella, Arthur. "Smithsonian Science Exhibit." Science 266, no. 5182 (1994): 13. http://dx.doi.org/10.1126/science.266.5182.13.a.

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23

Molella, A. "Smithsonian Science Exhibit." Science 266, no. 5182 (1994): 13. http://dx.doi.org/10.1126/science.266.5182.13.

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24

Weiner, C. "Smithsonian Science Exhibit." Science 266, no. 5182 (1994): 13. http://dx.doi.org/10.1126/science.266.5182.13-a.

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25

V.C.P. "Smithsonian Quincentenary Activities." Americas 46, no. 2 (1989): 231. http://dx.doi.org/10.1017/s0003161500076458.

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26

Kennedy, D. "The Smithsonian Affair." Science 293, no. 5529 (2001): 393. http://dx.doi.org/10.1126/science.293.5529.393.

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27

Walser, Robert. "Jazz: The Smithsonian Anthology. Smithsonian Folkways Recordings SFW 40820, 2010." Journal of the Society for American Music 8, no. 4 (2014): 597–99. http://dx.doi.org/10.1017/s1752196314000455.

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28

Lin, Meiying. "Book Review: Longhorned Woodboring Beetles (Coleoptera: Cerambycidae and Disteniidae): Primary Types of the Smithsonian Institution (edited by S. W. Lingafelter et al., Smithsonian Institution Scholarly Press, Washington D.C., USA. 2014, 390 pages)." Zoological Systematics 41, no. 2 (2016): 241. https://doi.org/10.11865/zs.201624.

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Lin, Meiying (2016): Book Review: Longhorned Woodboring Beetles (Coleoptera: Cerambycidae and Disteniidae): Primary Types of the Smithsonian Institution (edited by S. W. Lingafelter et al., Smithsonian Institution Scholarly Press, Washington D.C., USA. 2014, 390 pages). Zoological Systematics 41 (2): 241-241, DOI: 10.11865/zs.201624

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29

Haigler, Daniella. "Osteo Preparation Lab: Preserving the Smithsonian Tradition of Collections Access and Collections-based Research." Biodiversity Information Science and Standards 2 (June 13, 2018): e26528. http://dx.doi.org/10.3897/biss.2.26528.

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The National Museum of Natural History is committed to long-term stewardship of collections and to supporting their use by scientists and the general public. Smithsonian’s Osteo Preparation Lab (OPL), in particular, maintains a long-standing tradition of collections access and collections-based research. This tradition of preparing and cataloging osteological specimens traces its origin to the beginning of the Smithsonian Institution itself. In the mid 1800's, James Smithson's legacy called for an Institution with a mission to pursue the “increase and diffusion of knowledge.” Under Spencer Baird, that mission later evolved into a system called collections-based research. This system involved preparing and curating animal specimens for scientific research, which was particularly important for the emerging field of comparative anatomy of vertebrate skeletons. Today, OPL staff work to catalogue and document vertebrate specimens, which contributes greatly to continuing the historic tradition of collections-based research done at Smithsonian Institution. The preparation and curation procedures of vertebrate specimens relies on the commitment of the OPL staff, as well as the use of dermestid colonies, composting, and other maceration techniques. The lab’s sizeable space and state of the art necropsy equipment for large animal dissections are used on a regular basis by visiting scientists studying vertebrate anatomy. Additionally, the OPL is integrally involved in tissue collection from animal remains, which are held by the museum for research purposes in both collections spaces at the museum and our unique biorepository at the museum support center (MSC). In terms of collections access, the osteology specimens in the museum’s research collections draw scientists from around the world. The research done on the specimens has resulted in many intriguing discoveries. In terms of public engagement and access, the Smithsonian Institution can boast maintaining a three hundred year old exhibition on vertebrate osteology, which began in 1881. The “Osteology: Hall of Bones” provides visitors with an opportunity to examine the skeletons of a vast array of vertebrate species, ranging from minute birds to giant mammals. The display, while mirroring the selection of species found in the original exhibit from the nineteenth century, enhances the user experience through the integration of modern technologies, like the app “Skin and Bones.” And so, despite the rather unpleasant smell and macabre nature of the work, the Osteo Prep Lab's activities are integral to both the public outreach and research activities of the Smithsonian Institution’s National Museum of Natural History.

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30

Haigler, Daniella. "Osteo Preparation Lab: Preserving the Smithsonian Tradition of Collections Access and Collections-based Research." Biodiversity Information Science and Standards 2 (June 13, 2018): e26528. https://doi.org/10.3897/biss.2.26528.

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The National Museum of Natural History is committed to long-term stewardship of collections and to supporting their use by scientists and the general public. Smithsonian's Osteo Preparation Lab (OPL), in particular, maintains a long-standing tradition of collections access and collections-based research. This tradition of preparing and cataloging osteological specimens traces its origin to the beginning of the Smithsonian Institution itself. In the mid 1800's, James Smithson's legacy called for an Institution with a mission to pursue the "increase and diffusion of knowledge." Under Spencer Baird, that mission later evolved into a system called collections-based research. This system involved preparing and curating animal specimens for scientific research, which was particularly important for the emerging field of comparative anatomy of vertebrate skeletons. Today, OPL staff work to catalogue and document vertebrate specimens, which contributes greatly to continuing the historic tradition of collections-based research done at Smithsonian Institution. The preparation and curation procedures of vertebrate specimens relies on the commitment of the OPL staff, as well as the use of dermestid colonies, composting, and other maceration techniques. The lab's sizeable space and state of the art necropsy equipment for large animal dissections are used on a regular basis by visiting scientists studying vertebrate anatomy. Additionally, the OPL is integrally involved in tissue collection from animal remains, which are held by the museum for research purposes in both collections spaces at the museum and our unique biorepository at the museum support center (MSC). In terms of collections access, the osteology specimens in the museum's research collections draw scientists from around the world. The research done on the specimens has resulted in many intriguing discoveries. In terms of public engagement and access, the Smithsonian Institution can boast maintaining a three hundred year old exhibition on vertebrate osteology, which began in 1881. The "Osteology: Hall of Bones" provides visitors with an opportunity to examine the skeletons of a vast array of vertebrate species, ranging from minute birds to giant mammals. The display, while mirroring the selection of species found in the original exhibit from the nineteenth century, enhances the user experience through the integration of modern technologies, like the app "Skin and Bones." And so, despite the rather unpleasant smell and macabre nature of the work, the Osteo Prep Lab's activities are integral to both the public outreach and research activities of the Smithsonian Institution's National Museum of Natural History.

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31

Lang, Michael A., and Anson H. Hines. "Smithsonian Institution Underwater Research." Marine Technology Society Journal 34, no. 4 (2000): 50–60. http://dx.doi.org/10.4031/mtsj.34.4.7.

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32

Check, Erika. "Report backs Smithsonian research." Nature 421, no. 6920 (2003): 198. http://dx.doi.org/10.1038/421198c.

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33

Lok, Corie. "Reprieve for Smithsonian centre." Nature 411, no. 6834 (2001): 119. http://dx.doi.org/10.1038/35075714.

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34

Camp, Charles. "Smithsonian Folklife Festival (review)." Journal of American Folklore 115, no. 457 (2002): 484–86. http://dx.doi.org/10.1353/jaf.2002.0027.

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35

Goldberg, Stanley. "Smithsonian suffers Legionnaires' disease." Bulletin of the Atomic Scientists 51, no. 3 (1995): 28–33. http://dx.doi.org/10.1080/00963402.1995.11658069.

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36

Lindley, David. "Smithsonian"s new formula." Nature 341, no. 6239 (1989): 175. http://dx.doi.org/10.1038/341175c0.

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37

McLane, Alec. "Smithsonian Global Sound (review)." Notes 62, no. 3 (2006): 776–80. http://dx.doi.org/10.1353/not.2006.0030.

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38

Fang, Janet. "Smithsonian on human origins." Nature 464, no. 7290 (2010): 836. http://dx.doi.org/10.1038/464836a.

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39

Hall, Elizabeth. "Museum Makeover: Smithsonian Edition." Lighting Design + Application 39, no. 12 (2009): 28–33. https://doi.org/10.1177/036063250903901209.

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40

Kumar, Mohi. "Smithsonian climate change exhibits." Eos, Transactions American Geophysical Union 87, no. 18 (2006): 175. http://dx.doi.org/10.1029/2006eo180006.

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41

SCHULZ, WILLIAM. "SMITHSONIAN GETS SCIENCE COMMISSION." Chemical & Engineering News 79, no. 20 (2001): 14. http://dx.doi.org/10.1021/cen-v079n020.p014a.

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42

Ho, P. T. P. "The Smithsonian Submillimeter Array." International Astronomical Union Colloquium 140 (1994): 384–91. http://dx.doi.org/10.1017/s0252921100020108.

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SummaryThe Smithsonian Astrophysical Observatory is currently designing and constructing the Submillimeter Array (SMA). This instrument will consist of six 6-m telescopes, which can be moved and reconfigured in four concentric ring-like arrangements with maximum baselines of 500 m. Pending negotiations, the SMA will be sited on Mauna Kea at the 4000 m plateau, adjacent to the existing CSO and JCMT submillimeter telescopes. The goal of the SMA is to provide imaging at sub-arcsecond resolution for the wavelength range of 1.3 mm to 0.35 mm. This instrument will therefore improve the angular resolution achieved with present submillimeter telescopes by more than an order of magnitude. As the cool (10-100 K) dust and gas in the Milky Way and other external systems will radiate principally in the submillimeter wavelengths, we expect the SMA to provide unprecedented resolution and to make fundamental contributions to many different problems including the studies of our solar system, star formation and circumstellar disks, galaxies and molecular cloud structures, quasars and active galactic nuclei, and perhaps even galaxy formation in the early universe.

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43

Flinn, Dara. "Smithsonian Blogathon Review I." Collections 7, no. 1 (2011): 7–9. http://dx.doi.org/10.1177/155019061100700102.

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44

Reid, Chelsey. "Smithsonian Blogathon Review II." Collections 7, no. 1 (2011): 10–11. http://dx.doi.org/10.1177/155019061100700103.

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45

Caldwell, Kelly. "Smithsonian Blogathon Review III." Collections 7, no. 1 (2011): 12–13. http://dx.doi.org/10.1177/155019061100700104.

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46

Macilwain, Colin. "Smithsonian heeds physicists' complaints." Nature 374, no. 6519 (1995): 207. http://dx.doi.org/10.1038/374207a0.

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47

Shieh, Jackie. "Smithsonian Libraries & Archives: BIBFRAME linked data experiment with the Share Family technology." Art Libraries Journal 50, no. 1 (2025): 12–18. https://doi.org/10.1017/alj.2025.5.

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The semantic web promises interlinks of cultural heritage objects, both original and digital, of which the Smithsonian Institution (SI) holds plenty in artifacts, books, audio/video, etc. At the core, structured data in RDF is likely the one member of data infrastructure that carries the major lifting for interlinking. Parsing millions of bibliographic data mainly locked in MARC21 into the BIBFRAME/RDF syntax is not an insignificant endeavour for the library community. The Smithsonian Libraries & Archives, a network of specialized libraries (including art and design), is not an exception. It became part of the Share Family to utilize its technology so as to increase user resource discovery and the library staff’s ability to resource curations. Working collaboratively with scores of research, academic and national libraries, and the Share Family team, the Smithsonian Libraries & Archives experimented with BIBFRAME, a Library of Congress RDF-based ontology, which has benefited greatly from the Share-VDE semantic technology and its system design. From such efforts, the Smithsonian Libraries & Archives looks to move away from the web of documents into a web of data. Fulfilling SI’s strategic vision of availing collections through digital solutions for the increase and diffusion of human knowledge.

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48

Campbell, Patricia Shehan, and Jennifer M. Mellizo. "Teaching Music/Teaching Culture: From the Rhetorical to the Realities." Music Educators Journal 111, no. 2 (2024): 26–34. https://doi.org/10.1177/00274321241297593.

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As music educators embrace the possibilities for a more inclusive education that is culturally connected to the wider world, there are productive avenues for reshaping curricular content and method. In this article, we propose world music pedagogy (WMP) as a means of growing intercultural understanding alongside musical skills and knowledge, and chronicle the ways in which Smithsonian Folkways Recordings, the Smithsonian Institution’s record label and music archive, is at the forefront of turning postulations to practice through its development of a new curricular initiative titled Smithsonian Folkways Music Pathways (SFMPs). Taken together, WMP and SFMPs contribute significantly to diversifying and expanding the music curriculum in an era of societal transformation. In the interest of cultivating a deeper understanding of the wide world of music and musicians for their students, music educators will gain greatly from engaging with these recommended resources and pedagogical dimensions.

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49

Zakakis, Nikos, Emmanouil Noikokyris, Philemon Bantimaroudis, and Theodore Panagiotidis. "Long-term evidence of cultural agenda setting." Fifty years of agenda-setting research 3, no. 1 (2019): 3–22. http://dx.doi.org/10.1075/asj.18005.zak.

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Abstract The current study draws evidence from the Smithsonian Institution while examining a classic agenda-setting hypothesis during a period of 30 years in relation to media attention of the Smithsonian and a behavioral index of public salience, – namely its long-term, monthly visits. Second, it explores a larger theoretical concern often expressed by scholars in terms of the agenda-setting function over two different eras, the analog and the digital media periods.

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50

Stambach, Amy. "Ethnology Unboxed." #ethnologie 40, no. 2 (2019): 111–29. http://dx.doi.org/10.7202/1056386ar.

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This article compares a present-day etsy.com African curio shop — catalogued online and linked to craft-makers in Africa — with the Smithsonian Institution Abbott Collection of ethnological objects from Kilimanjaro, East Africa. The Smithsonian accessioned the Abbott Collection in 1890. A Tanzanian-born Canadian immigrant established the online curio shop circa 2012; she is a descendent of some of the owners of the Abbott collection objects. Building on Butler’s notion of museums without walls (2016) and Martinón-Torres’ concept of chaîne opératoire (2002), this paper argues that the online curio shop, like the Abbott Collection, renders concrete (as in momentarily “still”) a chain of relations of production and exchange that link near and distant places. I deepen this argument by presenting the curio shop owner’s commentary and reflections on the Smithsonian Abbott collection, which she visited recently. The paper concludes with discussion of ethnology’s renewed significance for consumerist and diasporic communities.

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