Abstract
Natural history museums present fertile ground for considering material configurations of “nature” and “history.” This essay analyzes the Natural History Museum of Utah at Rio Tinto Center (NHMU) to explore how spatio-temporal configurations of nature and history may paradoxically elide the deep time of natural history. Primarily considering its naming and its spatial placement rather than the impressive collections it houses, I identify spatio-temporal distortions related to three elements of the NHMU: its naming after a multinational mining company, its architectural attempt to represent iconic landforms, and its imposition on a heretofore-undeveloped parcel of land. Taking these distortions in sum, I argue that the museum, which is meant by its architects to be in harmony with the land, elides rather than harmonizes with the land that produced its collections by replacing ancientness with novelty and by conjoining extraction and education. This elision, performed by a building purported to embody the full depth of time, may flatten the deep time of the geologic past, thereby abetting the concealment of the ever-expanding extraction.
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