<h2>Looking for the perfect spring break destination?&nbsp;</h2>

You don't need to leave Chicago to explore the world. At the Field Museum, you can experience 4.5+ billion years of history and more than 40 million specimens and cultural items under one roof!&nbsp;

Whether you&rsquo;re here for a family-friendly day or an immersive educational experience, we&rsquo;ve got you covered with tips on everything from what to see, how to get here, and where you can save:&nbsp;

<h3>Choose your adventure</h3>

<h4>Pack your bags for a prehistoric road trip</h4>

Come face-to-face with creatures of the past

<ul>
<li><a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/evolving-planet">Griffin Halls of Evolving Planet</a>: Get to know the many creatures that have roamed the earth throughout it&rsquo;s 4.5 billion-year history, from single-celled organisms to our extended human family, and one of the most important fossils of all time: <a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/meet-the-chicago-archaeopteryx">the Chicago Archaeopteryx</a>.</li>
<li><a href="https://www.fieldmuseum.org/blog/sue-t-rex">SUE the T. rex</a>: Take a quick trip to the Cretaceous to meet SUE: &nbsp;the Field&rsquo;s most famous resident and the largest, most complete, and best-preserved Tyrannosaurus rex ever discovered. Make a detour down to our theatre for a <a href="https://www.fieldmuseum.org/exhibition/experience/t-rex-the-story-of-sue-3d">3D movie</a> featuring our fierce fossil&rsquo;s epic story.</li>
<li><a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/spinosaurus">Sobek the Spinosaurus</a> and <a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/maximo-titanosaur">M&aacute;ximo the Titanosaur</a>: Visit our main hall to meet two of our biggest paleo pals. Dive into Sobek&rsquo;s semiaquatic world and see what the world would&rsquo;ve looked like from M&aacute;ximo&rsquo;s 28-foot-high POV.</li>
</ul>

<h3>Get ready to garden</h3>

<h4>Dig into the wonders of the natural world, indoors and outdoors!</h4>

<ul>
<li style="font-weight: 400;" aria-level="1"><a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/plants-world">Plants of the World</a>: Wander through meticulously made models of plant life from around the planet, representing the millions of real-life pressed plants, specimens, and cultural items behind the scenes in our herbarium&rsquo;s collection!</li>
<li style="font-weight: 400;" aria-level="1"><a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/rice-native-gardens" style="letter-spacing: 0px;">Rice Native Gardens</a>: Spring has spring, and soon so will the more than 100 species of native plants surrounding the Museum! Keep an eye out for the important pollinators that help our garden thrive: birds, bats, grasshoppers, butterflies, and much more.</li>
</ul>

A monarch butterfly perches on a purple blazing star flower on a sunny day. Black-eyed Susans and other prairie plants are in the background.

Act Today for a Brighter Future

field-museum-rice-native-gardens-monarch-zachary-johnston-0b4b2621.jpg

A monarch butterfly stops in our Rice Native Gardens. Field scientists estimate that US cities could support 15 to 30 percent of the milkweed that’s needed to save the eastern monarch population.

<h3>Explore the globe</h3>

<h4>Visit a new place and meet new people&mdash;without ever leaving Chicago</h4>

<ul>
<li style="font-weight: 400;" aria-level="1"><a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/cyrus-tang-hall-china">Cyrus Tang Hall of China</a>: Uncover China&rsquo;s vast landscapes, rich culture, and deep history through artifacts spanning thousands of years&mdash; from bronze vessels and weapons to painted scrolls and goods traded along the Silk Road. </li>
<li style="font-weight: 400;" aria-level="1"><a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/native-truths-our-voices-our-stories" style="letter-spacing: 0px;">Native Truths: Our Voices, Our Stories</a>:&nbsp; Hear from Native American and Indigenous people as they tell their own stories&mdash;through words, music, dance, and art. Experience featured story, <a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/woolly-dogs">Woolly Dogs,</a> and see items from our collection alongside artworks and media to show how woolly dogs remain a beloved part of Coast Salish communities.</li>
</ul>

African Cultural Renaissance gallery inside Africa Fashion

<h3>Head out on a hike</h3>

<h4>Embark on an adventure through the sights and sounds of natural landscapes</h4>

<ul>
<li style="font-weight: 400;" aria-level="1"><a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/ronald-and-christina-gidwitz-hall-birds">Ronald and Christina Gidwitz Hall of Birds</a>: Fly by more than 1,000 birds from around the world&mdash;living and extinct&mdash;and learn about their adaptations to unique environments. </li>
<li style="font-weight: 400;" aria-level="1"><a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/nature-walk-messages-wilderness" style="letter-spacing: 0px;">Nature Walk &amp; Messages from the Wilderness</a>: Stroll through immersive dioramas that help bring wildlife habitats to life. Experience what it&rsquo;s like to visit national parks across South, Central, and North America.</li>
</ul>

Media

<h3>Make time for hands-on, family fun</h3>

<h4>Hands-on and immersive fun for curious kids and families</h4>

<ul>
<li style="font-weight: 400;" aria-level="1"><a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/underground-adventure">Underground Adventure</a>: Shrink down to the size of a bug and explore life beneath the soil. Crawl through underground tunnels and meet larger-than-life critters to learn more about what they need to survive and thrive beneath our feet. </li>
<li style="font-weight: 400;" aria-level="1"><a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/machine-inside-biomechanics" style="letter-spacing: 0px;">The Machine Inside: Biomechanics:</a> All living things&mdash;including you!&mdash;contain remarkable feats of engineering. All ages can try out interactive experiences that show how mechanics like wings and fins, pumps and pipes, and claws and jaws work in nature.</li>
<li style="font-weight: 400;" aria-level="1"><a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/crown-family-playlab" style="letter-spacing: 0px;">Crown Family PlayLab</a> and <a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/grainger-science-hub" style="letter-spacing: 0px;">Grainger Science Hub</a>: Head to our PlayLab to let the little ones explore the world through music, art, and other hands-on activities. Then, make your way to the Science Hub for a Meet a Scientist session, where you can ask our more than 150 researchers questions about their work at the Field! </li>
</ul>

In a digital interactive, adjust a cheetah’s speed to see how its spine springs into action when it runs.

<h3>Make the most of your day&mdash; a little planning can go a long way</h3>

<h4>Tips</h4>

<ul>
<li>Skip the Line: Buy tickets online and head straight to the exhibits.&nbsp;</li>
<li>Check the Weather: Chicago weather can be&hellip; unpredictable. Bring layers or an umbrella when needed. Lockers are available to rent near the south entrance.&nbsp;</li>
<li>Plan Breaks: Refuel at the Field Bistro or bring your own snacks&mdash;tables open to visitors can be found in the cafeteria space on the ground level.&nbsp;</li>
</ul>

<h4>Tickets, deals &amp; discounts</h4>

Explore the museum without stretching your budget

<ul>
<li>Illinois Residents: Enjoy free basic admission every Wednesday with valid ID. Plus, Illinois teachers (pre-k through 12th grade) receive complimentary admission when they present their employee ID at the museum.&nbsp;</li>
<li>Out-of-State Visitors: If you&rsquo;re planning a trip and are considering seeing as many sights as you can, consider a CityPass or Go Chicago Card for bundled admission to the city's top attractions, including the Field Museum.&nbsp;</li>
<li>Membership: For frequent visitors, a museum membership is a great way to save. Members enjoy unlimited basic admission throughout the year, as well as discounts, early access to special exhibitions, and other exclusive perks.&nbsp;</li>
<li>Other Offers: Active military personnel receive discounted admission.&nbsp;</li>
<li>Museums for All: As part of Museums for All, we offer low-cost admission for families with EBT or WIC cards from any state.&nbsp;</li>
</ul>

Entrance to Soldier Field parking garage with Field Museum visible in background

Directions & Parking

We look forward to welcoming you back to the Field Bistro.

Amenities

When you arrive, enter at the museum's East entrance, which is wheelchair-accessible. There is also a passenger drop-off area at the East entrance.

Frequently Asked Questions

Native Truths Opening (Young 2022)

Accessibility

Our tips to making the most of your spring break visit.

Your Guide to Spring Break 

<h2>Hugs and hisses from Reptiles Alive!</h2>

Look outside of the box and inside our Museum displays for your perfect match: a real-life reptile!&nbsp;

We’ve got 20 live snakes, lizards, turtles, alligators, and crocs inside our special exhibition, Reptiles Alive!. Read on to learn which ones you should set a date with before they slither, crawl, and swim away in April.&nbsp;

<h3>Quality time</h3>

Smalls, the African dwarf crocodile

Do you find meaning in spending a few moments with others? So do African dwarf crocodiles, like Smalls, and garter snakes, like Glenn!

African dwarf crocodile mothers nest in rainforests near rivers and swamps, then guard their eggs for about three months before they hatch. When they do, she&rsquo;ll dig her babies out and carry them to water to make sure they get to their new home safe and sound.

Garter snakes form &ldquo;friendships&rdquo;: younger snakes follow older female snakes, and communicate through chemical signals. Building these bonds may help them stay warm or protect them from predators.

<h3>Receiving gifts</h3>

Iris, the alligator snapping turtle

If silly little treats make your day, you can relate to our alligator snapping turtle, Iris!

Most aquatic turtles are active swimmers, but the alligator snapping turtle is a &ldquo;sit-and-wait&rdquo; predator: it lies quietly and &ldquo;fishes&rdquo; by opening its huge mouth and wiggling its wormlike tongue. Unlucky prey swims right in and gives the turtle a snack.&nbsp;

Alligator snapping turtles are also scavengers and feed on carrion left for them by other animals living in and around the rivers and creeks of the southeastern United States. &nbsp;

<h3>Words of affirmation</h3>

Gwangi, the Cuban rock iguana

Communication isn&rsquo;t just key for humans&mdash;reptiles like our Cuban rock iguana, Gwangi, and our American alligator, Thanos, will let you know what&rsquo;s on their mind.&nbsp;

A head bob from a Cuban rock iguana can indicate an assertion of dominance or irritation. But it can also be used as a simple greeting or to impress a mate.&nbsp;

American alligators are super vocal animals: their calls through the swamps, lakes, and rivers of the southeastern United States send messages ranging from &ldquo;I warned you! Take this! Now go away or I&rsquo;ll bite again!&rdquo; to &ldquo;Hey, good looking!&rdquo;

<h3>Physical touch</h3>

Rambo, the reticulated python

Are you a hugger? So are reticulated pythons, like Rambo&mdash;though he&rsquo;s motivated more by his stomach than his heart.&nbsp;

Reticulated pythons are among the longest snakes on the planet and have been measured at over 30 feet&mdash;that&rsquo;s the height of a three-story building!

These supersized southeast Asian snakes are constrictors: they&rsquo;ll use their jaws to grab unsuspecting prey (sometimes as large as pigs or deer) and bring it closer, but coil tightly around their catch to suffocate it before eating it.&nbsp;

<h3>Acts of service&nbsp;</h3>

Hank, the Gila monster

All reptiles play essential roles in their ecosystems, but some&mdash;like Hank the Gila monster &mdash;also give researchers essential clues about other scientific fields

While Gila monsters spend 98% of their time hiding underground from the intense desert heat of the southwestern United States and Mexico, their venom has made its way to the labs of biomedical researchers!

A direct bite from a Gila monster can be painful (although not usually life-threatening), but components of the venom have been used in medications to treat Type 2 diabetes and in the development of modern weight management drugs.

Reptiles Alive! was created by the Field Museum and Peeling Productions at Clyde Peeling&rsquo;s Reptiland.

Acknowledgments

Gwangi, a Cuban rock iguana

Meet (S)cute: Which Reptile Speaks Your Love Language?

Connecting Threads: Africa Fashion in Chicago connects global traditions with local creativity through stunning garments, jewelry, and textiles from talented Chicago-based designers like Olivia Ogbara, Stephane St. Jaymes, Hayet Rida, Patricia Ghonda Zola, Joy Boykin, Robert Paige, and Jennifer Akese-Burney. Meet the woman who contributed her vast knowledge of the Chicago fashion world to the exhibition: Melody Boykin.

Melody Boykin is a co-curator of Connecting Threads: Africa Fashion in Chicago and the founder of Black Fashion Week | USA (BFW). She brings years of fashion and style experience, uplifting designers of color in Chicago with pieces on display in Connecting Threads.

BFW was born in 2014, when Melody worked as a top stylist for a high-end retailer in Chicago with her own clientele.

As I was selling, I got curious about the different names behind the clothing,&rdquo; said Melody. &ldquo;When I checked the label on one of the high-end garments, I looked up the designer, and she was a designer of color, and I never would have known it.

<h2>Black Fashion Week keeps legacy alive</h2>

BFW 2017 featuring designer Stevie Edwards.

BFW began as one fashion show featuring 15 designers. But, over the past decade and a half, it&rsquo;s expanded from a fashion runway event to an inclusive social and economic movement that reaches audiences through Black History Month programming, pop-up shops and events, artist-focused educational workshops and panel discussions, film viewings, trunk shows, industry trade shows, kids&rsquo; fashion shows, and much more. BFW features inclusive fashion runway shows where models of all skin tones, shapes, and sizes are seen strutting down the runway in evening wear and culturally inspired attire.

BFW has propelled many careers: Jennifer Akese-Burney is co-curator of the Field Museum&rsquo;s exhibition Connecting Threads, where her work is on display. Since working with BFW, her designs have been featured in local media and are on display in Connecting Threads.

The platform has also helped reignite careers: as a teenager in the 1970s, Stevie Edwards was the youngest African American designer featured in the Ebony Fashion Showcases. BFW &nbsp;brought him to a full-circle moment in 2017 when the media platform put him back in the market and boosted his career. His work was also featured in Vogue.

The platform has also helped models grow their careers and become top New York fashion models.

&ldquo;It&rsquo;s amazing to see how their careers have grown and the opportunities they&rsquo;ve had,&rdquo; says Melody. &ldquo;We have always been a training platform.&rdquo;

Boykin also aims to give back to her community by uplifting Black-owned spaces and neighborhoods throughout the city. She partners with local communities to hold events in iconic venues located in key metropolitan neighborhoods in Chicago, like South Shore&rsquo;s South Shore Cultural Center, Hyde Park&rsquo;s DuSable Museum of African American History, and the Loop&rsquo;s Harold Washington Library.

BFW 2018 Rewriting Fashion Panel Discussion Featuring Bryan K Osburn Designs.

&ldquo;From a cultural stance, [it&rsquo;s important to have] our events in our communities where culturally people can be exposed to a type of showcase that they may not be able to experience,&rdquo; she said. &ldquo;Some people will never be able to go to New York Fashion Week. Some people would never get the opportunity to build a platform that would feel like a red carpet event. The impact has been great, exposing local talent and designers from our communities all over the Chicagoland area.&rdquo;

Melody&rsquo;s 2025 was centered around the development of Connecting Threads and a Juneteenth fashion show at the Field.

&ldquo;I see this exhibit as an everyday fashion show,&rdquo; said Boykin. &ldquo;Over the years, people say they can&rsquo;t go to the show because they have plans that day. Now they can come to the Field Museum; everything you would see on the runway is in the exhibition.&ldquo;

As for the future of BFW, Melody hopes to expand into different markets, bringing her production into other cities so she can bring fashion to underrepresented communities. She hopes to showcase, educate, and empower people in the key black metro cities around the United States.

&ldquo;Our platform has always been heavy on education,&rdquo; says Boykin. &ldquo;It&rsquo;s not just about showcasing fashion, but empowering our participants to improve their self-image through fashion and become more educated about the clothing that they're wearing and the designers who came before them&hellip;. It&rsquo;s deeper than wearing clothing. It&rsquo;s about our history.&rdquo;

Over the past three years, BFW has entered the online market with an opportunity to showcase more designers through social media. &nbsp;You can check out the latest with BFW <a href="https://blackfashionweekusa.com/">here</a>.

<h2>Black Fashion Week | USA presents The Little Black Boutique Guide</h2>

The Little Black Boutique Guide: Chicago Edition. A directory of Black-owned fashion & retail stores around the Windy City! by Melody Boykin

As Connecting Threads closes its run in March 2026, you can continue celebrating black designers and businesses through the Little Black Boutique Guide, authored and published by Black Fashion Week | USA. The guide was inspired by Victor Hugo Green&rsquo;s Green Book, a guide that helped Blacks navigate Jim Crow in the segregated South during the early to mid twentieth century, highlighting black-owned shops across different industries, like hotels or insurance companies.

Today, since people can choose to diversify their shopping choices, embracing diversity, The Little Black Boutique Guide is a way to spotlight black-owned businesses across the Chicagoland area. The guide was designed as a way to help stay engaged and culturally support black boutiques, businesses, and art organizations in those neighborhoods. The guide is organized by neighborhood, showcasing shops, art galleries, theater companies, restaurants, and more.

&ldquo;The term Black represents so many different cultures and cuisines that cannot be summed up in the African diaspora,&rdquo; says Melody. &ldquo;From Senegalese to soul food, The Little Black Boutique Guide covers a wide array of cuisines represented by Black communities in the Chicagoland area.&rdquo;

&ldquo;You could search for these stores on Google, but you need to know that they exist. We have everything from thrift stores to consignment stores to one of the very few black-owned furriers in the country.&rdquo;

The book is sold in the Field store; you can also purchase it <a href="https://www.amazon.com/Little-Black-Boutique-Guide/dp/1735316814">here</a>.

Meet Melody Boykin, a co-curator of Connecting Threads: Africa Fashion in Chicago and founder of Black Fashion Week | USA.

Behind the style: Meet Connecting Threads co-curator Melody Boykin

Media for SUE’s Holiday Gift Guide

When you&rsquo;re 67 million years old, winter hits the bones different. I can feel the chill approaching in all 250 of my fossils (including my little wishbone) weeks before the first snowflake falls. And I hate it.&nbsp;

I&rsquo;ve lived above ground in the Midwest since 1990, and every single day is colder than my life during the Cretaceous. I can hear you questioning now: But SUE, you were unearthed on August 12 in South Dakota&mdash;it&rsquo;s like 80 degrees there.&nbsp;

You know what&rsquo;s cold? NOT HAVING ANY FLESH. NOT LIVING DURING A PERIOD WHEN THE PLANET WAS ICE-FREE AND FORESTS EXTENDED TO THE POLES.&nbsp;

The other reason I loathe the coming winter is the holidays. It would be easy to stereotype one of the world&rsquo;s most deadly predators as a Scrooge. Listen, I like the decorating and singing and festive guests coming to visit me. And the eating. OH HOW I LOVE THE EATING.&nbsp;

My problem with the holidays is the gift-giving. Particularly, how few I receive. So in the interest of benefiting from the change I wish to see, I&rsquo;ve compiled this gift guide to assist you in your holiday shopping. AND BETTER SNAP TO IT, YOU&rsquo;VE ONLY GOT A MONTH LEFT.&nbsp;

My apologies. The hanger strikes suddenly. I simply meant, you&rsquo;d be advised to shop as soon as humanly possible.&nbsp;

SUE the T. rex

Give a child a dinosaur toy and the kid will love it. Give a child a book about dinosaurs, and they will learn every dinosaur, then come to the Museum and correct you and all other adults incorrectly identifying fossils&mdash;and I will love it. Please buy your kids more dinosaur books. It brings me so much joy watching kids flex on adults.

Gifts for kids

I&rsquo;m not one usually one for mammalian merriment, but I can recognize rock-solid decor when I see it. Throw the best holiday party in prehistory with these infused drinks and reptilian tableware.

Gifts with holiday spirit

If anyone can appreciate a one-of-a-kind find&mdash;it&rsquo;s me, the world&rsquo;s ONE AND ONLY most complete T. rex. If ANYTHING could elevate my already iconic look, it&rsquo;d be a science-inspired necklace hanging from my furcula.&nbsp;

Unique finds from the Field Museum store

I give the gift of me to THOUSANDS of people every day. They can&rsquo;t get enough. SUE shirts, SUE books, SUE replica claws &mdash;let&rsquo;s be real,&nbsp;your shopping list can start and end here.

Gifts inspired by SUE

Didn&rsquo;t listen to me? Still shopping? Fine. In the name of spreading holiday cheer, I &lsquo;spose I can send a rec to M&aacute;ximo by way of a kind of cute plush. Or this Parasaurolophus puzzle. MAYBE a nice Museum-y scented candle&hellip;BUT THAT&rsquo;S IT.

Gifts that inspire discovery

SUE's Holiday Gift Guide

Bivalve Symposium, World Congress of Malacology, Perth, Australia, 2004

Bivalve Symposium, World Congress of Malacology

FW17.jpg

Cover of the resulting published volume.

A symposium entitled “Bivalves - A Look at the Branches” was organized for the World Congress of Malacology in Perth, Western Australia, in July 2004. The intent was to explore the major branches of Bivalvia, with each contributor introducing diversity and characters of the group, and discussing hypotheses of relationships, resulting classifications, and unresolved issues for future research. For this, we invited a small group of specialists, ranging from seasoned investigators to up-and-coming graduate student researchers, who each “represented” one or several major branches. The speakers (minus their coauthors) included Graham Oliver (Arcoidea), Ilya Tëmkin (Pterioidea), Thomas Waller (Pectinoidea), Daniel Graf (Paleoheterodonta), Peter Middlefart (Galeommatoidea), John Taylor (Lucinoidea), Paula Mikkelsen (Veneroidea), Emily Glover (Lucinoidea), and Elizabeth Harper (Anomalodesmata). This symposium and its 2006 proceedings volume in the Zoological Journal of the Linnean Society (a peer-reviewed journal, as our workshop volumes have been) provide a solid step forward in bivalve systematics, and through the “what's needed” component of each paper, entice other colleagues, and particularly upcoming students, to take a closer look at marine bivalves.

International Marine Bivalve Workshop, Florida Keys, 2002 A 12-day workshop on marine bivalves,

Participants in the 2012 International Marine Bivalve Workshop in the Florida Keys

Participants lent their collective expertise to revising taxonomy of the local bivalves, contributing nearly 1,300 new occurrence records, and adding or resurrecting three species to the previously recognized species list of Florida Keys bivalves.The unique format of the workshop was showcased in a talk for a special session, PEET Meets Molluscan Taxonomy, at the American Malacological Society meeting, University of Michigan, Ann Arbor. Manuscripts were published in a dedicated volume of peer-reviewed papers in the scientific journal<a href="https://live-field-museum1.pantheonsite.io/science/microsites/malacologia"> </a><a href="https://live-field-museum1.pantheonsite.io/science/microsites/malacologia">Malacologia</a>.

International Marine Bivalve Workshop

FW11.jpg

Cover of the resulting Proceedings volume.

Two social excursions gave the participants a more complete “taste” of the Florida Keys. An afternoon “Bergfest” barbeque at historic Pigeon Key (at the mid-point of the famous Seven-Mile bridge) was a welcome break at the half-way mark of the workshop, punctuated by an historical lecture and tour by the Pigeon Key Historical Foundation, chatting with visiting Keys researchers, plus additional collecting in the surrounding shallows. At the end of the workshop, we traveled to Key West for a day of shopping and site-seeing, stopping first for a tour of Mote Marine Laboratory’s Center for Tropical Research on Summerland Key. Capping off the evening was a sunset cruise aboard the historic sailing vessel, “Western Union.”Collections were supported by permits from the Florida Keys National Marine Sanctuary (educational event permit FKNMS-2002-079), the State of Florida (individual saltwater fishing licenses to all participants), Florida Department of Environmental Protection (FDEP 5-02-43; for Long Key and Bahia Honda State Parks), and Pigeon Key Foundation.

Workshop Results: Field activities at the workshop resulted in 48 numbered stations and 117 bivalve species.

FW10.jpg

Bergfest at Pigeon Key

Most evenings included one or more after-dinner presentations. Billy Causey, Superintendent of the FKNMS, presented an orientation lecture about the Sanctuary and its activities. For three succeeding nights, each scientist presented an informal talk about his/her research. At the end of the workshop, for an additional three successive nights, the students presented the results of their team research during the workshop.During the workshop, several other scientist teams in the area or concurrently using the Keys Marine Laboratory facility took part in our evening programs and interacted with workshop participants. These included Tom Frankovitch and Laura Reynolds (graduate students in benthic ecology, University of Virginia), Dr. David Pawson (Curator of Echinoderms, Smithsonian's National Museum of Natural History) and his field assistants, and Dr. Joseph Lopez (Biomedical Division, Harbor Branch Oceanographic Institution) and his students enrolled in a sponge taxonomy workshop. Also during this event, a press release to local newspapers resulted in coverage by the local Keynoter newspaper; subsequent to the workshop, several participants wrote articles for their own institutional newsletters.

with an emphasis on systematics, anatomy, and natural history, was held in the Florida Keys in Summer 2002 to further knowledge of living marine bivalves and to train students in this understudied field of modern malacology. Supported by the NSF-PEET Marine Bivalve Project, 12 invited expert scientists from Austria, Australia, Brazil, Hong Kong, the United Kingdom, and the U. S. worked one-on-one in teams with a similarly diverse group of 12 graduate-level students chosen competitively from almost 50 applicants. Organizing Team

<ul>
<li>Dr. Paula Mikkelsen, American Museum of Natural History, New York</li>
<li>Dr. Rüdiger Bieler, Field Museum of Natural History, Chicago</li>
<li>Dr. Russell Minton, Field Museum of Natural History, Chicago</li>
<li>Ms. Isabella Kappner, Field Museum of Natural History and University of Illinois at Chicago</li>
<li>Ms. Louise Crowley, American Museum of Natural History and City University of New York</li>
<li>Ms. Juri Miyamae, American Museum of Natural History, New York, and Swarthmore College, Swarthmore, Pennsylvania</li>
</ul>

FLKeys_logo.jpg

Image for International Marine Bivalve Workshop

FW2.jpg

The workshop was held at the <a href="http://www.keysmarinelab.org/">Keys Marine Laboratory</a> in the city of Layton on Long Key, about half-way down the tropical Florida Keys island chain. The laboratory is a well- equipped full-service laboratory and education center focusing on south Florida marine environments, and allowed us to pursue another objective of the workshop - to increase knowledge of the molluscan fauna of the Florida Keys National Marine Sanctuary (FKNMS).The Florida Keys are home to a unique set of ecosystems including the only living coral reefs in the continental United States. Yet despite a century of avid shell collecting and molluscan research in the Keys, Levy et al. (in "Site Characterization for the Florida Keys National Marine Sanctuary and Environs," Nature Conservancy, 1996) noted, "except for a few ecological inventories that include mollusks, there is a lack of comprehensive, ecosystem-wide species inventories in the Florida Keys." Coral reef conservation efforts stress corals, sponges, algae, and fish, and except for a few members of the "charismatic macrofauna" (such as the Queen Conch Strombus gigas and the Flamingo Tongue Cyphoma gibbosum), regularly ignore mollusks and other invertebrates. This deficiency is acutely sensed since the establishment of the FKNMS in 1990. Seeking to preserve, protect, and restore the marine habitats associated with the Florida Keys Reef Tract, the Sanctuary is faced with a lack of knowledge about this important invertebrate group - they do not know what mollusks are present now, how many species or populations have been lost, and what the remaining species require to survive.

FW3.jpg

Their own Draft Management Plan written in 1995 listed only 630 marine species. Through original fieldwork, extensive library research, and museum collection surveys, the list has nearly tripled to almost 1,600 species. Approximately 400 of these species are bivalves [see “Marine bivalves of the Florida Keys: discovered biodiversity,” by P. M. Mikkelsen and R. Bieler, in: The Evolutionary Biology of the Bivalvia, E. M. Harper, et al., eds., Geological Society, London, Special Publication 177: 367-387 (2000)].

FW4.jpg

Dr. Osmar Domaneschi worked with Ms. Elizabeth Shea, studying the funtional morphology and population biology of Asaphis deflorata

Research Teams:
The 12 invited scientists included a mix of dedicated bivalvologists plus relatively new “cross-overs” from other molluscan groups. Their specialties ranged from phylogenetic systematics, to functional morphology, molecular biology, ecology, and faunal survey. The students were equally varied, from a wide range of academic training and background. The international mix was also phenomenal, encompassing 17 countries of origin and nationality. 

Project: Functional morphology and population structure of *Asaphis deflorata *(Psammobiidae) Dr. Osmar Domaneschi, Universidade de São Paulo, Brasil Ms. Elizabeth Shea, Bryn Mawr College, Pennsylvania, USA 

Project: Anatomical studies in Lucinidae Dr. Emily Glover, The Natural History Museum, London Ms. Melita Peharda, University of Zagreb, Croatia 

Project: Anatomical studies in Tellinidae Dr. José Leal, Bailey-Matthews Shell Museum, Sanibel, Florida, USA Ms. Amy Maxmen, Harvard University, Cambridge, Massachusetts, USA

FW5.jpg

Dr. Brian Morton and Ms. Martina Knapp mapped bore holes and measured shell size to investigate anti-predation devices in nearby populations of Chione elevata.

Project: Anti-predation devices in Chione elevata (Veneridae)Dr. Brian Morton, University of Hong Kong, ChinaMs. Martina Knapp, University of Vienna, Austria

Project: Anatomical and systematic studies in OstreidaeDr. Diarmaid Ó Foighil, University of Michigan, USAMs. Lisa Kirkendale, University of Florida, USA

Project: Anatomical and population studies of Arcopsis adamsi (Noetiidae)Dr. Graham Oliver, National Museum &amp; Gallery, CardiffMs. Johanna Järnegren, Trondhjem Biological Station, Norway

FW6.jpg

Diarmaid Ó Foighil, Graham Oliver, and Johanna Järnegren work in dry lab at KML.

Project: Systematic studies in IsognomonidaeDr. Jay Schneider, George Washington University, Washington, DC, USAMs. Joanne Dougherty, Villanova University, Pennsylvania, USA

Project: Systematic studies of rock-boring bivalves (especially Petricolidae)Mr. Paul Valentich Scott, Santa Barbara Museum of Natural History, California, USAMs. Grete Dinesen, University of Aarhus, Denmark

Project: Comparative morphology of Barbatia species (Arcidae)Dr. Luiz Simone, Universidade de São Paulo, BrasilMr. Anton Chichvarkhin, Russian Academy of Sciences, Vladivostok

FW7.jpg

The Lucine Teams (left to right, Mr. Gregorio Bigatti, Ms. Melita Peharda Dr. Emily Glover, and Dr. John Taylor) joined forces to sieve for Lucinidae specimens in the shallow waters off Pigeon Key.

Project: Systematic studies in Chamidae Dr. Gerhard Steiner, University of Vienna, Austria Mr. Matthew Campbell, Indiana University, USA 

Project: Reproductive biology in Lucinidae Dr. John Taylor, The Natural History Museum, London Mr. Gregorio Bigatti, Universidad de Buenos Aires, Argentina 

Project: Systematic studies of Brachidontes species (Mytilidae) Dr. Richard Willan, Museum &amp; Art Gallery of the Northern Territory, Darwin, Australia Mr. Kyle Bennett, Rutgers University, New Jersey, USA

Workshop Activities: To facilitate pre-workshop preparation, each invited scientist pre-selected a family-

FW8.jpg

Grete Dinesen and Matthew Campbell chiseling rocks for boring bivalves.

level taxonomic group from a list of taxa that would be readily available in the Keys. Adjustments were made during the first few days in the field, based on initial collections, and work began in earnest. Daily field activities by boat or car/van caravan included scuba dives to coral or patch reefs, snorkeling and sieving in seagrass beds and sand flats, hammering intertidal and subtidal rocks (for borers and cementing bivalves), and wading exposed flats at low tide. Trips were catered to the team needs, often resulting in small groups simultaneously going in three to five different directions, with several of the most productive sights seeing repeated visits. On return from the field, specimens were sorted and labeled in the KML wet lab, set up in running seawater tanks, and later brought to the dry lab to be subjected to dissection, microscopical study, and other techniques.

FW9.jpg

Martina Knapp presenting results of Chione elevata study (top) and Richard Willan reporting on his research activities (bottom).

The Field Museum

Fossil Invertebrates Biodiversity Chart

The diversity and abundance of invertebrate fossils is truly amazing. Scientists have divided the invertebrates into 33 phyla of which 25 have a fossil record, and of these 25 phyla 15 are represented in the Field Museum&rsquo;s collections. Approximate representation by major groups in the collection is:

<ul>
<li>Porifera 5%</li>
<li>Cnidaria 11%</li>
<li>Bryozoa 5%</li>
<li>Brachiopoda 17%</li>
<li>Mollusca 23%</li>
<li>Arthropoda 9%</li>
<li>Echinodermata 10%</li>
<li>Faunal Associations 12%</li>
<li>All others 8% (This includes: Nemertea, Nematoda, Priapulida, Echiura, Annelida, Onychophora, Chaetognatha, and Hemichordata).</li>
</ul>

In addition, significant components of the collection include: Pennsylvanian fossils from the Mazon Creek area Devonian fossils from the Falls of the Ohio area Silurian reef fossils from the Chicago area Paleozoic echinoderms Ordovician through Devonian corals, brachiopods and trilobites

Biodiversity

Fossil Invertebrate Collection by Geologic Period

The fossil invertebrate collection houses specimens from every continent. The collection&rsquo;s focus however is material from the Paleozoic of the North American mid-continent with large holdings from the Illinois, Michigan, Iowa and Appalachian Basin.

Geography

The collection has fossils ranging in age from over 550 million years to the present. The collection spans all the geological periods from the Cambrian through Quaternary with a focus on Ordovician through Pennsylvanian fossils

Geologic Time

Check out the Fossil Invertebrates collection from a biodiversity and geographic perspective

Fossil Invertebrates Collection Biodiversity and Geography

<h2>Meet your Pok&eacute;mon Fossil Museum guides</h2>

Pok&eacute;mon Fossil Museum opens at the Field on May 22, 2026.&nbsp;

In this special exhibition, you&rsquo;ll immerse yourself in the worlds of Pok&eacute;mon and natural history with models of fan-favorite Pok&eacute;mon, real fossil excavation and preparation tools, and exhibition soundscapes.&nbsp;

You'll also be guided by illustrations of real-world, Field Museum scientists, interspersed throughout the exhibition.

Keep scrolling to learn more about our featured scientists, how they started studying fossils, and their favorite fossil Pok&eacute;mon.&nbsp;

<h2>Meet Akiko Shinya</h2>

Chief Preparator Akiko Shinya invites you on a journey of discovery inside the world of ancient Pokémon in the Pokémon Fossil Museum.

<h4>What&rsquo;s your role at the Field?</h4>

As Chief Fossil Preparator, I play a role in all parts of a fossil&rsquo;s journey from the field to a scientific study or Museum display.

When a fossil is brought to my lab, I&rsquo;ll use a variety of tools to remove any extra layers of rock surrounding it. This gets it ready it for study, display, or our collections&mdash;a library of life where current and future scientists will be able to reference it in their work.

If a fossil needs repair, replication (through a molding and casting technique), or sampling to help answer a specific question about how an extinct lifeform lived, I&rsquo;ll help with that, too!

<h4>How did you start doing this work?</h4>

I started as a volunteer and student at a fossil lab in the Royal Ontario Museum in Toronto. When the Field Museum brought SUE the T. rex to Chicago in 2000, the fossil preparation lab here was expanded, and I joined the team. I learned a lot from the fellow fossil preparators who were here.

In the two decades since, I&rsquo;ve had the opportunity to work on a lot of incredible dinosaur fossils: one of my first projects at the Field was a small raptor called Buitreraptor from northern Patagonia, Argentina. More recently, I was part of the Chicago Archaeopteryx team with Jingmai O&rsquo;Connor and helped ensure that this early bird was the best prepared of its kind.

<h4>Which fossil Pok&eacute;mon is your favorite? </h4>

Shieldon! This cute fossil Pok&eacute;mon is compared with ceratopsids: beaked, plant-eating dinosaurs often characterized by distinctive frills and horns on their heads. Baby ceratopsids would&rsquo;ve had shorter, narrower frills than adults&rsquo; broader, squared versions&mdash;kind of like the differences you see when Shieldon evolves into Bastiodon!

<h2>Meet Arjan Mann</h2>

See Assistant Curator Arjan Mann as a Pokémon character in the Pokémon Fossil Museum exhibition.

<h4>What&rsquo;s your role at the Field?</h4>

I&rsquo;m the Assistant Curator of Early Tetrapods at the Field Museum. I study the origin of terrestrial vertebrates (mammal forerunners, early reptiles, and amphibians) 300 million years ago during the Permo-Carboniferous Period. I&rsquo;m interested in how they adapted to and maintained life in their environment across time and through major climate changes.

<h4>How did you start doing this work? </h4>

Early on, my mom worked at the Royal Ontario Museum in Toronto as an interpreter in the ROM&rsquo;s Discovery Gallery and studied paleoanthropology and faunal osteology. She took me into the museum with her while she was working on her Master&rsquo;s degree in Museum Studies&mdash;that&rsquo;s how I got my early start in natural history collections!

I also did my undergraduate and Master&rsquo;s research at the Royal Ontario Museum. My work included studying fish and early tetrapod fossils from Mazon Creek, Illinois (a spot less than two hours south of Chicago with iron concretions that capture a great snapshot of what life looked like here 300 million years ago).

<h4>Which fossil Pok&eacute;mon is your favorite? </h4>

Rampardos: it&rsquo;s a lot like real-life dinosaur Dracorex, a juvenile pachycephalosaur. This group of beaked, plant-eaters had bony domes, spikes, and bumps on their heads that may have been used for head-butting contests.

<h2>Meet Jingmai O&rsquo;Connor</h2>

Learn alongside Associate Curator Jingmai O'Connor as a Pokémon character in the Pokémon Fossil Museum.

<h3>What&rsquo;s your role at the Field?</h3>

I am the Associate Curator of Fossil Reptiles&mdash;aka the dinosaur curator. I research Mesozoic Era birds and their closest non-bird dinosaur relatives.

One thing I want to understand better is how flying &lsquo;birds&rsquo; first evolved from feathered &lsquo;bird-like&rsquo; dinosaurs that didn&rsquo;t fly. Flight likely evolved several times!

The sky&rsquo;s not the limit: I also study early bird diversity. All of the unique characteristics we see in living birds evolved in early birds of the Jurassic and Cretaceous Periods&mdash;helping some birds survive the asteroid that led to the extinction of all other dinosaurs.

<h4>How did you start doing this work? </h4>

Like Arjan, I was inspired by my mom. When I was 10, my mom went back to school to do her PhD in Geology. I would often go with her to the lab and into the field&mdash;so I became interested in geology, too.

When I started college, I learned about evolution in my Historical Geology class and decided to pursue paleontology. Thinking about the process of evolution blows my mind: it's so complex it's difficult to fathom, but it has produced such stunning, diverse, curious, and fascinating life forms. I am obsessed with research and adding to our understanding of how life evolved.

Fun fact: my mom and I got our PhD at the same place only 12 years apart!

<h4>Which fossil Pok&eacute;mon looks most like the lifeforms you work on? </h4>

The obvious choice is Archeops, since I work on the Chicago Archaeopteryx. In real life, Archaeopteryx would have mostly been black&mdash;a lot different than Archaeops&rsquo; colorful feathers!

I also have an Omanyte tattoo, since Pok&eacute;mon was a really cherished part of my childhood! In Pok&eacute;mon Red and Pok&eacute;mon Blue, you find either the Dome Fossil or Helix Fossil in a cave. With Professor Oak&rsquo;s help, the fossils regenerate into either a Kabuto (a real-life trilobite look-alike) or Omanyte (like ammonites that lived millions of years ago).

The Pok&eacute;mon Fossil Museum exhibition was created by the Field Museum in Chicago, the National Museum of Nature and Science in Tokyo, and The Pok&eacute;mon Company International.

Opening at the Field on May 22, 2026.

Your First Look at the Pokémon Fossil Museum in Chicago

Connecting Threads: Africa Fashion in Chicago connects global traditions with local creativity through the stunning garments, jewelry, and textiles from talented Chicago-based designers like Olivia Ogbara, Stephane St. Jaymes, Hayet Rida, and Jennifer Akese-Burney.

In this blog, take a journey with Jennifer, a &nbsp;Chicago-based Ghanaian designer, as she reimagines items in Field Museum collections as remarkable, wearable pieces of art.

<h2>Journey with the designer</h2>

Jennifer Akese Burney working on garments in her studio.

Jennifer Akese-Burney working on garments in her studio.

Born and raised in Ghana and now based in Chicago, Jennifer graduated with a Bachelor's in Fashion Design and Technology from Takoradi Polytechnic. She started sewing at an early age and established Akese Stylelines in 2005. In 2012, Akese Stylelines splashed onto the Chicago fashion scene. She is passionate about designing and producing unique pieces with a focus on fit, color, and prints. Her work captures the vibrancy and color of the popular Ankara tradition while offering a modern twist to traditional Western silhouettes.

As a Ghanian-born designer in the Chicagoland area, Jennifer was chosen as a collaborator for Connecting Threads in late 2023. Jennifer&rsquo;s showstopping designs are heavily featured in the exhibition. Six of her pieces are on display in Connecting Threads as part of the &ldquo;Transformation Collection.&rdquo; Each piece reflects Jennifer&rsquo;s unique style, with inspiration drawn from items in the Museum&rsquo;s African collection.

There are more than 40 million specimens and cultural items within the Field&rsquo;s collections&mdash;only one percent is on display. The majority of the Museum&rsquo;s items are housed behind the scenes in collections, where they are carefully curated into a library that connects scientists and researchers to the natural world and human history.

In early 2024, Jennifer sifted through the Museum&rsquo;s African collections, a time-consuming process that evoked emotion.

Inspired by the details in ordinary items like hats and baskets, the designs came to life in Jennifer&rsquo;s mind.

From collections to her studio, Jennifer went to work on designs, collaborating with Museum staff to decide which items are represented and how to work them into her designs. As sketches developed and changes were made, she kept with the collections-inspired silhouettes and refined the details.

<h2>The Transformation Collection</h2>

The Transformation Collection is named after the adinkra symbol on which these wearable art pieces sit. Originating in Ghana, adinkra are symbols that represent concepts, proverbs, and expressions. This symbol, Sesa Wo Suban, means &ldquo;change or transform your character.&rdquo; Transformation embraces the changes that have brought African people this far and celebrates the diversity of artifacts from all over the continent. It honors the sacrifices and adaptations made so African cultures could be protected, preserved, and passed on beyond the Motherland

This 6-piece collection tells the story of our transformation&mdash;personal, societal, and spiritual, rooted in the power of African artifacts from the Field Museum, Chicago, that once served as conduits for communication, ritual, and artistry. Each look in the collection reflects an object from the Field Museum&rsquo;s African exhibit, reinterpreted as wearable art that fuses ancient heritage with contemporary aesthetics. The silhouettes evolve across the collection, mirroring a journey from origin to awakening.

<h3>Motherland Reigns</h3>

She started with Motherland Reigns, inspired by the vibrant colors of a horse chest piece made by the people of Borno in northeastern Nigeria. She began with this piece because she wanted to incorporate the cords in one of her designs.&nbsp;&nbsp;

Alexis Benjamin wears "Motherland Reigns." © 2024 Field Museum, Photos taken by Isi Akahome, Makeup by Crystal-Eyez Makeup, Hair by Akese Stylelines

These tassels on a horse chest piece made by the people of Borno, northeastern Nigeria inspired "Motherland Reigns."

Seeing the tassels at the museum, it spoke to me. The pop of color influences my style and design.

Motherland Reigns shows the richness of the cultures represented with vibrant blues and reds along with the twisting tassel headpiece.

I wanted to show structure, fluidity with an avant-garde look to it.

Items in the Field Museum's anthropological collections, like these tassels from a horse chest piece, orange feathered ornament, and gourd with cowries, inspired Akese-Burney's concept sketches for Motherland Reigns.

Detail from "Motherland Reigns" under construction in the studio

"Motherland Reigns" under construction in the studio

Detail from "Motherland Reigns"

<h3>Strands of Life</h3>

In addition to this project, Jennifer worked Monday through Friday, sometimes traveling to shows on the weekends. She&rsquo;d take pieces with her as she travelled to shows, weaving intricate details at the airport.

&ldquo;The one piece that I worked on constantly, within two days, would be Strands of Life. The sketch that I originally gave was of the comb.&rdquo;&nbsp;

"Strands of Life"

African combs

Jennifer was drawn to the afro comb: a relatable household item that spans generations throughout Africa and the African diaspora, finding inspiration from combs in the Museum&rsquo;s collections that date back 5,000 years. She also wanted to represent the afro pick because it is a symbol of black pride. The cascading strands of the dress represent the teeth of an afro pick.&nbsp;

&ldquo;I want people to have the conversation and keep it going. The entire thing was a creative piece; we have the fists and we have the tassels that represent the teeth of the comb. It&rsquo;s something wearable but still art.&rdquo;

Concept sketches for "The Strands of Life" and the combs that inspired the design.

Detail from "Strands of Life" under construction in the studio

Omowunmi Ogunmola models "Strands of Life" outside the Field Museum's North Entrance

"Strands of Life" modeled by Omowunmi Ogunmola

<h3>Beat of Your Own Drum</h3>

Another commonly used object from Jennifer&rsquo;s childhood in Ghana was the djembe. The African drum is seen in the feminine silhouette and details of Beat of Your Own Drum.

"Beat of Your Own Drum" in the exhibition next to the djembe that served as its inspiration.

&ldquo;The djembe is very popular in Ghana and West Africa. Music is major, from the moment you&rsquo;re pregnant, it is a celebration, through birth and growing up into adolescence, we use the djembe drum.&rdquo;

Colorful spirals extend from the chest with small djembe figures at the ends to signify the fluidity of music and the rhythm of life.&nbsp;

Beat Of Your Own Drum design was intentionally created with almost 20 different African prints, including a cocoa taffeta fabric on which the prints lay. Individually, these prints have their names and meanings, with some prints being classic designs that have been passed on for generations. Two examples will be the Nsubura print in the front right, with the circles, and the Kente print on the back view of the gown, which are icon prints with their own history. 

Souvenirs from this design can be obtained at the <a href="https://akesestylelines.com/collections/souvenirs-from-the-transformation-collection">Akese Stylelines</a> website.

Progress sketches and inspiration for "Beat of Your Own Drum"

Detail from "Beat of Your Own Drum"

"Beat of Your Own Drum" with masks from "Ancestors on Our Shoulders"

Akese-Burney sewing "Beat of Your Own Drum" in her studio

Cut fabric for the back of "Beat of Your Own Drum"

"Beat of Your Own Drum" under construction in the studio

The bodice of "Beat of Your Own Drum" under construction in the studio

<h3>Ancestors on our Shoulders</h3>

Jennifer&rsquo;s favorite piece, however, is Ancestors on our Shoulders. It represents the many countries that make up Africa. Five masks represent the five regions of Africa: Northern Africa, Central or Middle Africa, Southern Africa, East Africa, and Western Africa.

"Ancestors on Our Shoulders" in the exhibition next to one of the masks that inspired it

Growing up in Ghana, there is so much joy and happiness to be able to see masks represent each section of the continent. All of them have their own meaning and significance, some about loyalty, strength. All of those faces are literal ancestors on the shoulders. These are our people, like a bodyguard protecting you.&rdquo;&nbsp; With a loose, Moroccan silhouette, the piece is accompanied by masks representing Ghana, Angola, Cameroon, and Nigeria.

Masks in progress for "Ancestors on Our Shoulders"

The richly textured and decorated neckline and shoulders of "Ancestors," in progress in the studio

"Ancestors on Our Shoulders" under construction in the studio

<h3>He Who Loves the Vase Loves Also What&rsquo;s Inside</h3>

A not-so-obvious comparison is represented by a palm wine vase. Inspired by a Cameroonian palm wine vase, He Who Loves the Vase Loves Also What's Inside plays on the spiral beaded design of the vase as a three-dimensional piece. The title of the piece is inspired by an African proverb.&nbsp;

This Cameroonian palm wine vessel's beaded decoration inspired the bold circular shapes and dynamic movement of "He Who Loves the Vase Loves Also What's Inside."

&ldquo;If you love somebody or something, you love what you see and the entire contents.&rdquo; Jennifer captures African culture in this piece through visual components. The circles protruding from the dress are not only inspired by the vase but also convey deeper meaning. In African culture, circles symbolize the absence of a beginning and an end, representing God, immortality, eternity, and wholeness, while celebrating community power and unity.

Sewing circles for "He Who Loves the Vase"

"He Who Loves the Vase Loves Also What's Inside" in progress in Akese-Burney's studio

Completed white cape and shoulder piece from "He Who Loves the Vase Loves Also What's Inside"

Completed white cape, shoulder piece, and hat from "He Who Loves the Vase Loves Also What's Inside"

<h3>Together We Stand</h3>

Lastly, Together We Stand, a piece wrapped in zebra print featuring a zebra&rsquo;s face, a neckpiece, and a hat with strands dangling from its brim. Two baskets were the vision behind the neckpiece and the hat. Jennifer drew inspiration from the fibers that weave the baskets together.

"Together We Stand" next to the baskets that inspired the ensemble

&ldquo;Fibers are the thinnest pieces of fabric; to make it stronger, you can weave it, bond it, or knit it. I see weak fibers becoming stronger and demonstrating how there is strength in numbers.&rdquo;

Every piece of the Transformation Collection is arranged on a display in the shape of the adinkra symbol for transformation, Sesa Wo Suban, meaning &ldquo;change or transform your character.&rdquo;

&ldquo;Transformation is the change of life. It&rsquo;s all about change, about the ability to change from one state to another. As a people, as a culture, we need the change. It is the one thing that is constant.&rdquo;&nbsp;

Akese-Burney painting "Adinkra Zebra Crossing" in her studio.

A neckpiece inspired by an woven basket made by an Ilorin weaver.

Akese-Burney's "Together We Stand" in her studio

See Jennifer&rsquo;s Transformation Collection in <a href="https://www.fieldmuseum.org/exhibition/connecting-threads-africa-fashion-in-chicago">Connecting Threads&mdash;Africa Fashion in Chicago</a> at the Field Museum through March 2026.

The exhibition was made in collaboration with Jennifer Akese-Burney, Fashion Designer of Akese Stylelines, and Melody Boykin, the creator of Black Fashion Week USA. The exhibition shows the creative pieces inspired by the continent and its culture.&nbsp;

Take a journey with Jennifer, a Chicago-based Ghanaian designer, as she reimagines items in Field Museum collections as remarkable, wearable pieces of art. 

Behind the Designs of Connecting Threads: Jennifer Akese-Burney

In 2022, the Andrew W. Mellon Foundation awarded the Field Museum $1M in funding to connect indigenous communities in the US with their collections here in Chicago (#MellonConnections). The program set out to build on and expand previous collaborative work at the museum during the creation of the new permanent Native American exhibits <a href="https://www.fieldmuseum.org/exhibition/halls-and-galleries/native-truths-our-voices-our-stories">Native Truths: Our Voices, Our Stories</a>.

There are three elements to the #MellonConnections program:

<ul>
<li style="font-weight: 400;" aria-level="1">Early Career Fellowships</li>
<li style="font-weight: 400;" aria-level="1">Loans to local tribal institutions.</li>
<li style="font-weight: 400;" aria-level="1">Collaborative visits and knowledge exchanges</li>
</ul>

The museum field needs to develop the careers of those who are already culturally competent to work easily with Native North American collections stewarded by museums. The Native Truths project gave us the opportunity to specifically seek out such people, hire them, and retain them at the Field Museum. We now need to expand this resource for care of collections going forward.

<h2>Early Career Fellowships</h2>

These fellowships were intended for aspiring museum professionals of Native American heritage who are recent graduates, especially those who had attended Tribal Colleges and Universities (TCUs) and Native American-Serving Nontribal Institutions (NASNTI).&nbsp;

Over the past three years, Mellon funding has supported six Early Career Fellows. Since making the move to Chicago can be daunting, this funding also covered moving expenses for each Fellow. At the museum, Fellows then received paid hands-on training in collections management, conservation, and registration, with the option to focus on one of these specialities as they familiarize themselves with museum work. To aid in early career development, funding is also provided for all Fellows to attend the annual meeting of the Association of Tribal Archives, Libraries, &amp; Museums (ATALM).&nbsp;

During their time at the museum, each Fellow has focused on learning to improve the care and documentation of a particular area of the North American collection with which they have affiliation. They also work to facilitate community access to collections, fostering vital connections between communities and their belongings. As of 2024, all Fellowships have already been awarded, and we’d like to thank our Mellon Fellows for their phenomenal work!

<h2>Collaborative Loans</h2>

The Mellon Foundation also provided support for the loan of cultural items from the Field Museum to tribal museums and cultural centers. While this program originally focused on loaning items to institutions in the Midwest, we’re now considering any loan proposals from tribal museums within the continental United States. Funding is available for consultation on item selection, item transport, and humidity-controlled display cases (you keep the case after the item is returned from loan).

<h2>Collaborative Care</h2>

Learning is a two-way street in which museum staff and descendant communities work together to interpret and care for collection items. Communities can teach museum collections staff about specific items, specific item types, and specific cultural approaches to collections care. Museum staff can share their knowledge with communities about collections documentation, care, and conservation treatment. A major aim of the Museum’s future collaborative program is to ensure the continued two-way exchange of information between Indigenous communities and the Museum, both inside and outside the Museum. We hope to do this in three main ways.

<h3>Knowledge Exchanges</h3>

We want to improve the care of the Native collections at the Field Museum through partnership with community member(s) who are knowledgeable in the traditional care of particular items. Dialogues with museum staff have focused on tangible or physical aspects of collections, such as materials, how things are made, indigenous repair methods, past restorations, residues, and evidence of use, as well as intangible aspects of collections, including contextual information regarding original uses, meaning and significance, associated stories and memories, and culturally appropriate storage and use. Funding for travel, accommodation, and expenses is provided along with an honorarium to allow community knowledge keeper(s) to come to Chicago for collaborative care activities.

<h3>Site Visits</h3>

The second type of knowledge exchange will be based on Field Museum staff visits to Native institutions, community centers, and museums. Museum staff can answer questions for the community and provide expertise directly in situ. Staff will also be able to learn directly from communities in the communities own space. It is expected that most visits will be completed in about three working days.

<h3>Workshops</h3>

The final type of knowledge exchange will be structured as an in-house, three-day, eight-person workshop each year. Workshops will be designed to present useful information to attendees on topics such as pesticide mitigation, conservation, collections topics (e.g., cleaning and restoring materials such as feathers and leather), photography, and making storage housing. Travel, per diem, and honoraria will be provided for workshop participants.

#MellonConnections at the Field Museum: 3 Years Later

Andrew W. Mellon Connecting Communities to Collections Program

In <a href="https://www.pnas.org/doi/10.1073/pnas.2400698121" target="_blank">a new study</a> published in PNAS, a team of researchers led by MacArthur Curator Gary Feinman compared house size distributions over the last 10,000 years from more than 1,000 sites around the world to demonstrate that while inequality is widespread throughout human history, it’s not inevitable, nor is it expressed to the same degree at every place and time. (This article is part of a larger set of 11 papers—eight co-authored by Gary—which can be accessed <a href="https://www.pnas.org/toc/pnas/122/16?ai=aqle&amp;ui=gqyd&amp;af=T" target="_blank">here</a>). By broadening their vantages beyond kings and courts, archaeologists in many regions of the world have been gathering data on diverse segments of past societies, farmers as well as rulers. The systematic cumulation of these data, which are focused on variable distributions of house sizes, lies at the core of the GINI project, a broad collaborative effort led by Timothy Kohler (Washington State University), Amy Bogaard (Oxford University), and Scott Ortman (University of Colorado), that has measured and coded more than 50,000 houses from more than 1000 archaeological sites. This unprecedented data set lies at the heart of the present study. The data indicate that there is not one unilinear sequence of change in wealth inequality over time, rather there are interpretable patterns and trends that cross-cut time and space. “The traditional thinking expects that once you get larger societies with formal leaders, or once you have farming, inequality is going to go way up,” Gary observes. But the reality is more complicated—factors that can foster inequality can be leveled off or modified by different human decisions and institutions. While Gary admits that variability in the sizes of houses may not indicate the full extent of wealth differences, it’s a consistent indicator of the degree of economic inequality that can be applied across time and space. Says Gary, Our global sample, along with other recent studies, also holds clues as to why the institutions of governance shift along the axis of concentrated (or personalized) power and more democratic formations with checks and balances. What we see is that when our governing institutions are financed by monopolized resources that are not drawn from the labor and fields of the local population, but rather through external resources, power in governance will likely become concentrated in the hands of a few. Herd animals, access to metals, and the control of long-distance exchange routes all seem to have a relationship to greater potentials for inequality. Whether today or in the deep past, when political power is wielded autocratically the checks and leveling mechanisms that dampen inequality will tend to break down, and, over time, disparities in wealth will move closer toward their maximal potentials. In this way, the past is a mirror for what we now see.The research was covered worldwide, in outlets like <a href="https://elpais.com/ciencia/2025-04-14/el-estudio-de-mas-de-1000-yacimientos-apunta-a-que-la-desigualdad-emergio-mucho-tiempo-despues-de-la-agricultura.html?fbclid=IwY2xjawJq8xRleHRuA2FlbQIxMQABHsVjlmem_L66zZBfDIQ3tVvoLV8tZcyS-key8NABPJAWFGXvNMmOS7wc-G6D_aem_xFa_kDSXVera8u_fxi48eA" target="_blank">El País</a>, <a href="https://archaeologymag.com/2025/04/study-reveals-inequality-was-never-inevitable/" target="_blank">Archaeology News</a>, <a href="https://www.focus.de/wissen/ist-ungleichheit-wirklich-unvermeidlich-studie-liefert-ueberraschende-antworten_ce84eae8-3d34-4b2d-9b91-56a20fe0ee85.html" target="_blank">Focus</a>, <a href="https://www.popsci.com/science/inequality-archeology-study/" target="_blank">Popular Science</a>, <a href="https://www.anthropology.net/p/rethinking-inequality-what-50000" target="_blank">Anthropology.net</a>, and <a href="https://www.ancientpages.com/2025/04/16/archaeologists-examined-ancient-" target="_blank">Le Nouvel Obs</a>.

Archaeological Data On House Size Indicates That Inequality Is Inevitable

Without archaeology, there is no way to truly examine economic inequality, its causes, and its consequences over very long time spans at a global scale. Until recently, most grand narratives that purported to tell the story of human inequality over time tended to focus either on European history of the last five to six centuries, or snapshots of recent societies, derived following colonial encounters with peoples around the world. These were then pyramided into proposed stepped sequences of change that were presumed to mimic unilinear temporal processes. Whereas the former was not global, the latter was not even historical.

This method was developed to study presolar stardust, 4.6-billion-year-old refractory oxides in meteorites, and micrometeorites, to understand star formation and early history of our Solar System. Volume measurements are essential for certain types of scientific research. To determine how long these particles were exposed to cosmic rays in space, scientists need to know their volume and weight with great precision. Traditional techniques often rely on assumptions about shape or use equipment with limited resolution, leading to significant uncertainties. The new Field Museum method uses SEM to take a series of high-resolution images of a particle from different angles. These images are then aligned using 3D modeling software to generate a detailed digital replica of the object. (The image below depicts secondary electron images of microparticles and corresponding 3-D models.) The resulting models are accurate to within ±10% in volume, a major improvement over earlier methods which could have uncertainties greater than 100%. While the team developed the method for research in cosmochemistry, it has broad potential applications in any field that requires accurate 3D models of very small objects. Researchers in entomology, botany, and paleontology, for example, could use this technique to study the fine structures of insects, plant seeds, or microfossils. This work benefited from international collaboration during the 2022–2023 BELARE Antarctic mission and funding from the TAWANI Foundation. The full study is published in <a href="https://doi.org/10.1111/maps.14351" target="_blank">Meteoritics &amp; Planetary Science</a>. The micrometeorite sample used in this study was collected during the 2022–2023 BELARE Antarctic Mission which included our own Maria Valdes (one of the people in the photo at right). The research was supported by the TAWANI Foundation.

New 3D Imaging Method Enhances Study Of Tiny Particles From Space -- And On Earth.

Resident Graduate Student Yuke Zheng (University of Chicago), with advisor Philipp Heck (Robert A. Pritzker Curator of Meteoritics and Polar Studies/UChicago Professor), and collaborators Maria Valdes (FMNH Research Associate), Xin Yang (Resident Graduate Student/UChicago) and Andy Davis (Research Associate/UChicago professor) measured the volume of microparticles—objects ranging in size from a grain of sand to a small bead—by using scanning electron microscopy (SEM) and 3D modeling software.

Photo: Betye Saar in 2019.

Over six decades, Saar&rsquo;s masterful print, collage, and mixed media assemblage creations have established her as a globally recognized powerhouse in the world of contemporary art. And she recalls spending time at the Field Museum as a pivotal moment in her artistic path.

Starting her career in printmaking, the visual storyteller was a part of the Black Arts Movement in the 1970s. Her evolving array of work has focused on family, mysticism, and spirituality as well as truths, myths, and stereotypes about race and gender.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

Among Saar&rsquo;s most recognized&nbsp;pieces are her 1977 sculpture&nbsp;Spirit Catcher&nbsp;and her 1972 work&nbsp;<a href="https://www.robertsprojectsla.com/artists/betye-saar">Liberation of Aunt Jemima</a>.&nbsp;In 1975, Saar was catapulted to the national stage with a solo exhibition at the Whitney Museum of American Art in New York. Her career has flourished with exhibitions and work in collections across the country and internationally.

Spirit Catcher, 1977, by Betye Saar. 

Liberation of Aunt Jemima, 1972, by Betye Saar. Collection of Berkeley Art Museum and Pacific Film Archive, Berkeley, California; purchased with the aid of funds from the National Endowment for the Arts (selected by The Committee for the Acquisition of Afro-American Art). 

Nearly 50 years later, it&rsquo;s still on fire!&nbsp;In 2025, Saar&rsquo;s work will be displayed at the University of Chicago&rsquo;s Neubauer Collegium for Culture and Study in a temporary exhibition: &ldquo;<a href="https://neubauercollegium.uchicago.edu/exhibitions/betye-saar">Let's Get It On: The Wearable Art of Betye Saar</a>.&rdquo; 

The show will offer the first look at a pivotal moment in Betye Saar&rsquo;s career: a visit to the Field Museum in 1974 that transformed how she conceived of herself as an artist.

Photo: Betye Saar in studio, 1974. Courtesy of the artist and Roberts Projects, Los Angeles, California.

<h2> A museum visit that offered a different perspective</h2>

Imagine coming to a museum and being so inspired by the exhibits that it infuses you with wonder and appreciation that fueled your creativity. In articles and other media throughout her life, Saar has spoken of such an occurrence in the 1970s that transformed her art.

<a href="https://oralhistory.library.ucla.edu/catalog/21198-zz0008zpzb?counter=1&q=saar">In 1990 interviews by Karen Anne Mason</a> for the Center for Oral History Research, University of California, Los Angeles, Saar remembers what she experienced while on a trip to Chicago for a National Conference of Artists. “We went to the Field Museum together,” speaking of her initial visit with fellow artist David Hammons. “My work changed then.”&nbsp;

Saar continued to describe what she encountered: “The Field Museum was an important step in my development as an artist, because I saw lots and lots of African art, Oceanic art, and Egyptian art. They had rooms and rooms of it. I had never seen that much.”

“So with this sort of new Black awareness and this thing about African art being really prevalent—I mean, I looked at all of that work and looked at the materials that they had used in making that art and the feelings that it had.”

Cameroon display, Field Museum, 1974

Bamoi robe, FM174062

Detail, Bamoi robe, FM174062

<h2> A Bamoi robe from Cameroon</h2>

Saar says of her formative Field Museum experience: “The strongest piece that affected my work was a robe of an African chief. This piece of fabric was quite amazing because it had a pattern, and when you looked closely, you could see the pattern was composed of a little bit of hair that was made into a hairball and sewn to this cloak.”

“It was like the chief was a guardian of this village, and everyone in the village had contributed a little bit of hair that decorated his cloak. It was so powerful, because not only was it a rough fabric and beautiful to look at, but it had a little bit of everybody on it. For me, even in a glass display case, it was almost like an electrical shock that came through that display.”

“It wasn't so much that it was a cloak that he wore, but the fact that there was something from the human body stitched on it that gave it this particular essence. So I thought, 'Well, I want to make art that's like that. I want to make contemporary, powerful, ritualistic art.' "

Saar said that ethnic art has been a creative resource for her: &ldquo;When I need inspiration, I go to a natural history art museum, that's where you see it.&rdquo; And: &ldquo;Whenever I get a chance and I'm in Chicago, I go to the Field Museum.&rdquo;

Betye Saar Field Museum Visit, October, 2023.

Betye Saar, thank you! We appreciate your memories and remembering us over the years. We are delighted that we could be a source of inspiration for such a living legend and wish you all the best. You are welcome to visit us anytime. May you continue to be inspired to produce beautiful, powerful art.&nbsp;&nbsp;

And, like Betye, we hope you&rsquo;ll also visit the Field Museum and find what inspires you!

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