
complemented open exhibits and complex habitats. At the same time, zoos use
“blockbuster” attractions like Philadelphia’s white lions or the
Washington, DC
National
Zoo’s giant pandas, fruit of Nixon’s rapprochement with China.
America’s other great contemporary zoos, defined by size, programs and resources,
include the
San Diego
Zoo,
Chicago, IL’s
Lincoln Park, New York City’s Wildlife
Conservation Society (including the Bronx Zoo) and the National Zoo in Washington,
part of the
Smithsonian Institution
. Nearly half of all zoos are municipal projects,
although they must also rely on foundation assistance and wider civic memberships.
Nonetheless, such zoos represent regional and global tourist attractions—the
St. Louis,
MO
Zoo gained wide media exposure through television’s
Wild Kingdom,
featuring its
director, Marlin Perkins, while
Miami, FL’s
Metrozoo merited a Frederick Wiseman
documentary
.
Large-scale public zoos also have been shadowed by smaller private and commercial
collections, ranging from a few animals imprisoned beside a highway to larger exhibits
like South Carolina’s Brookgreen Gardens, created by Archer Huntington and his wife in
1931 on their estate. As America sprawled along newly paved interstates, larger
enterprises—safari parks, reptile-lands and
Disney’s
Wild Kingdom—followed. Zoos
and acquaria have also become features of (and taken as characteristics of) amusement
parks.
Aquaria, less attractive than zoos, began with Washington’s National Aquarium,
located in the Department of Commerce building. Other early aquaria opened in Battery
Park, Manhattan (1895, moved to Coney Island in 1957) and Belle Isle (
Detroit, MI,
1904). Many declined after the Second World War, but 1980s
waterfront
development
spurred renewed interest in
Baltimore, MD,
New Orleans, LA
and other cities. These
scientific collections also have competed with private commercial venues like the Sea
World chain, which specializes in marine circus acts.
The Victorian zoo highlighted exoticism and hierarchy in humans’ domination o
fierce
nature
and other humans. The modern American zoo, by contrast, has become a
center of ecological concern and pedagogy as much as display—yet this, too, reflects the
changing cultural meanings of both nature and its viewers.
Further reading
Davis, S. (1997)
Spectacular Nature,
Berkeley: University of California.
Sedwick, J. (1988)
The Peaceable Kingdom: A Year in the Life of America’s Oldest Zoo,
New York: William Morrow.
GARY McDONOGH
Encyclopedia of Contemporary American Culture 1238