Arizona-Sonora Desert Museum Overview and History
Ranked by TripAdvisor.com as the #9 Museum in the world for 2013, the Desert Museum differs from a traditional museum in that most of its content is outdoors and alive. The Desert Museum interprets and showcases the Sonoran Desert region, widely recognized as the lushest desert on earth.
The Museum is a fusion experience: zoo, botanical garden, art gallery, natural history museum, and aquarium. Interpretation of Sonoran Desert animals, plants, geology, climate and native cultures is presented in a natural environment:
- 21 acres with two miles of walking paths
- 230 animal species
- 1,200 types of plants — 56,000 individual specimens
- One of the world's most comprehensive regional mineral collections
In 2001, the Museum's Art Institute opened with the purpose of inspiring conservation through art. In addition, the Museum's publishing division, the ASDM Press, has produced over 40 books and guides on the natural and cultural history of the region.
The Museum is recognized internationally for its conservation leadership and as a model for zoos and botanical gardens around the world. It is one of the most respected natural history institutions in the country.
Founded in 1952, the Arizona-Sonora Desert Museum is widely recognized throughout the world as a model institution for innovative presentation and interpretation of native plants and animals featured together in ecological exhibits. The Museum is regularly listed as one of the top ten zoological parks in the world because of its unique approach in interpreting the complete natural history of a single region (in our case this is the Sonoran Desert and adjacent ecosystems). This represents a significant achievement, as the Museum's collections and size are smaller than many of its counterparts. Not a "museum" in the usual sense, it is an unparalleled composite of plant, animal, and geologic collections with the goal of making the Sonoran Desert accessible, understandable, and treasured.
Today, this approach can be most easily understood by noting that the collections consist of 2,744 animals (representing 320 vertebrate and invertebrate taxa); 1,217 plant taxa cataloged (an estimated 72,000 plants are found on the grounds, but most are in the natural desert areas and are not accessioned); and 14,482 rock and mineral specimens (including 2,068 fossils). More than 175 of the plants and animals in the collection are of conservation concern in the Sonoran Desert region.
William H. Carr inspired and founded the Museum with the support of his friend and the Museum's initial benefactor, Arthur Pack, conservationist and editor of Nature Magazine. Carr had earlier founded the Bear Mountain Trailside Museum in New York , affiliated with the American Museum of Natural History, where he developed his ideas at Bear Mountain working with native plants and animals to create a regionally-focused collection.
Carr moved to Tucson in 1944 where he found "a gross lack of knowledge [about the desert] among the local populace as well as in the national mind." He became acquainted with local naturalists, and then affiliated with the Pima County Park Committee. This connection eventually led to the establishment of the " Arizona-Sonora Desert Trailside Museum ," today called the Arizona-Sonora Desert Museum . In those days Carr faced "tremendous opposition" because the local knowledge of zoos was largely limited to the "terrible, little roadside snakefarms" seen by many of Tucson 's residents.
The site selected was 12 miles west of Tucson in the Tucson Mountains -- much further from the Tucson of 1952 -- with no paved roads and over Gates Pass. The site was mostly natural desert with a few buildings, known as the Mountain House, originally built by the Civilian Conservation Corps. These structures are still in use today as part of the Museum's entry. The 98 acres of the Museum continue to be owned by Pima County and leased to the Museum which is governed by an independent Board of 24 members.
Carr's view and vision set the tone for displays as can be understood from his description of the first mammal enclosures that were designed, in his words, "as a balance between animal comfort, ability for the visitor to see the animals, and interiors that would be kept as much like the natural habitat of the animal as our scanty funds would permit."
Opening day was on Labor Day 1952, and the crowds came over the dirt road confirming Carr and Pack's hopes that the community was anxious to learn more about the Sonoran Desert . Months after the opening, the first Board of Trustees was formed including key people from the Tucson community selected by Carr, Pack, and William Woodin who was one of the first staff members and would eventually succeed Carr as director. Among the first Board members was Joseph Wood Krutch, the renowned naturalist author, who had retired to Tucson . Another noteworthy founding Trustee was Roy Chapman Andrews, a noted paleontologist who was devoted to the science programs of the Museum. Today, the Museum's science program continues to be funded in part by a fund set up by Chapman. One of the research legacies of the Museum that continues today is to tie research programs directly to educational interpretation so that visitors may gain a sense of scientific inquiry and the vital importance of ongoing science study to society.
One of the first actions of Woodin and the new Board was to drop the word "Trailside" from the name since this continued to conjure images of a roadside attraction, not an institution committed to education and excellence in the care of its living collections. The Board also remained committed to showing its strong tie to Mexico by including Sonora , the name of the state of Mexico immediately south of Arizona , in its official corporate name. This symbolic act was profoundly important in underscoring and promoting relationships with the country of Mexico throughout the history of the Museum.
These ties continue today in a host of ways: education programs that are conducted throughout the Sonoran Desert , research programs in all parts of the region, and staff exchanges with various Mexican institutions.
The early vision of having plants and animals from the region displayed together demonstrating their interdependence as the focus of the Museum was unusual enough, but Carr's vision went further. He insisted that there be ethnology of the region displayed, and created a Papago House on the grounds. Today, ethnology and its interpretation continue to be a strength of the Museum with regular demonstrations, for example, by Tohono O'odham basketweavers surrounded by the native plants they use in their craft.
Early on, particularly due to the work of Lew Walker, Associate Director, the Museum began to have direct impact on various conservation programs in Mexico . Continued to this day under the leadership of Richard Brusca, the greatest impact has been on the protection of the islands in the Sea of Cortez .
An early innovation developed during the first years of Woodin's directorship was the famous Water Street - a series of displays about water usage and conservation in the desert. This effort, along with the beginning collections of regional minerals, underscored that the Museum's mission includes interpretation of the entire natural history of the Sonoran Desert . Today, the Museum has one of the greatest collections of minerals from a single region to be found anywhere in the world, and geology enthusiasts from around the globe come every year to view these specimens.
Carr resigned in the fall of 1954 after an illustrious career. His vision, drive, and enthusiasm set the Museum on the path that has never varied: integrated, innovative exhibits of all aspects of the natural history of the Sonoran Desert coupled with strong education programs. He attracted a small, but remarkably talented staff and supporters, including Woodin; Mervin Larson (also to become director); Walker ; and Merritt Keasey, each of whom made important contributions to the institution.
The Museum originally opened as a free facility, with no public tax support. Pack, through his foundation, had provided the sum of $200,000 to begin the Museum and pay the initial operating costs, but it was essential that a gate fee eventually be charged. In 1953 an admission charge of 50 cents was instituted. Today the admission charge for adults is substantially higher and there is still no direct tax support for the Museum.
The docent program, which has grown to become one of the hallmarks of the Museum and is recognized by our industry colleagues as one of the finest docent corps in existence today, began in the fall of 1972. The genesis was a small group of volunteers trained to take school children on tours of the grounds, but now the docents are stationed around the grounds to provide live interpretation to all who visit. These docents, who undergo a rigorous 15-week training program, are now devoted to giving demonstrations on the grounds, and contribute today more than 75,000 hours annually to do this.
The Museum's other education programs have also developed over the years, most notably by Hal Gras who created a program to take live animals to schools and other venues. His program, begun in 1955, dubbed "The Desert Ark" by Joseph Wood Krutch, touched tens of thousands of people. Even though Gras retired from the Museum in 1985, many people today recall being inspired to learn about the desert from Gras. Through the generous support of the Red Acre Farm and Bert W. Martin Foundations the "Desert Ark" program has been reimplemented and is visiting children and schools throughout southern Arizona .
Woodin and Larson both made lasting contributions to the Museum. Woodin was Director for 17 years, and to date, the longest tenure for a director. He institutionalized and solidified the founding vision which he, of course, helped create as one of the first staff members hired by Carr. Under Woodin, the exhibits dramatically expanded including the Underground Tunnel (now called "Life Underground" and dedicated to Carr), Water Street USA, and the Sunset Demonstration Garden to promote desert landscaping. Many people today credit the large amount of desert landscaping in Tucson to the Museum's natural and naturalistic landscape. Under Woodin the reputation of the Museum grew rapidly at both a national and international level. He was an important figure in zoos nationally, becoming one of the initial incorporators of the AAZPA, now the AZA (American Zoo & Aquarium Association).
Larson, who succeeded Woodin as Director, was known even before he was named as a great creative talent who worked tirelessly to design the most naturalistic exhibits possible. He perfected techniques of creating artificial rock work and was responsible for numerous exhibits including the beaver and otter exhibits, the desert bighorn sheep enclosure, cat canyon, and the earth sciences center, all of which stand today. This spirit of innovation in natural history displays continued during his tenure as director and until he left to found the Larson Company, which itself has had a profound impact on the entire world of zoo exhibitry.
New exhibits, programs, and facilities for visitors continued to be built under the guidance of Directors Dan Davis and David Hancocks, including the Mountain Habitat, the Grassland, the Hummingbird Aviary, and a restaurant/gallery complex. In the Hummingbird Aviary visitors can see up to eight species of hummingbirds and these animals regularly bring off clutches in the enclosure. For its successful work on hummingbird propagation, the Museum received an AZA "Significant Achievement Award" in 1998.
Years ago, the Museum developed a television series that has become known as "Desert Speaks" and is produced in cooperation with the local PBS affiliate (KUAT) and broadcast in 200 markets. Robert Edison, the Museum's Executive Administrative Director served as co-producer.
As the Desert Museum is now over 50 years old, the commitment to the founding ideals are as strong as ever. The spirit of innovation and excellence of Carr, Pack, Woodin, and Larson live on with ever-improved exhibitry. This has been most recently evidenced by the creation of the "Desert Loop Trail," a half-mile long loop through natural desert along which are large enclosures, made of Invisinet® developed by Museum Director of Design, Ken Stockton, for animals such as javelina and coyote. This fine stainless steel netting is nearly invisible to visitors providing a greatly heightened sense of seeing animals in natural conditions and is now on the market available to other institutions. In 1998, the AZA presented the Museum a "Significant Achievement Award" for the Javelina exhibit.
The Museum's education programs are rapidly expanding to include direct involvement with science curricula, and new outreach to rural areas of Arizona and Mexico.
During Richard Daley's tenure as Executive Director, his primary goals were two-fold: to maximize the impact of the Museum and to develop a more stable, long-term financial base.
For many years, the Museum has been involved in scientific investigations at a modest level. Research and conservation programs are expanding significantly with emphasis on studies directly related to conservation of the Sonoran Desert . This work includes the Species Survival Plan work on the Mexican wolf and thick-billed parrot as well as cooperative work on the reintroduction programs for these species, and managing stud books for various taxa of endangered species. The research program, often involving outside scientists as well as staff, includes studies to discover the reason for the rapid decline of the Tarahumara frog, botanical field investigations especially in Mexico , population studies of Ironwood, and a major bi-national research program on migratory pollinators.
Because of the continued and expanded loss of habitats and biodiversity in the Sonoran Desert , the Museum will play increasing roles in public policy issues related to desert conservation in the years ahead.
Increasingly the Museum tries to find ways to enlarge its reach, whether this is in school and community education programs in urban and rural areas of Arizona , Sonora , and Baja, through publications, or through electronic communication. At the same time, the Museum will continue to be at the forefront of developing exciting exhibits and interpretation for those who visit the Museum in order to ensure the greatest educational and inspirational impact.
Following the tragedies of September 11, the Museum experienced the same challenges of other like non-profit institutions, a downturn in tourism and financial contributions. The Board and senior staff decided to take an unusual approach and make a direct appeal to the Museum membership for greater support during the annual fund drive. The approach was well-received and the Desert Museum witnessed the two best fundraising years in its history. This was also a period of new thinking for the Board and staff, as Richard Daley had left the Museum and Robert Edison was serving as interim director. After careful consideration it was decided that the Museum would implement a new executive leadership model (in many ways similar to that of the original management team) by appointing Robert Edison Executive Administrative Director, and Dr. Richard Brusca Executive Program Director. This model has been in place since 2003, and has been extremely effective in meeting the needs of the institution. 2004 was selected as the year to announce an $18 million capital campaign to the public. Having raised over $12 million in dollars and pledges, the Museum felt ready to bring this important campaign to the public for the remaining support. This capital drive represents the single largest fund-raising initiative ever undertaken by the Museum, and endeavors to bring much needed support to the Museum's modest endowment as well a new education building, jaguar/mountain lion habitat, and animal retirement facility. There has also been an increased focus on the role of public science education, as the Museum has more closely interfaced the education and science departments placing greater emphasis on the Sea of Cortez than in past years.
As the Desert Museum plans for the future, great care has been given to design succession strategies for the Museum's leadership. This planning is being conducted for both staff and board leadership roles. Our history has taught us that institutional knowledge, and demonstrated commitment to both the Museum and the local community are of necessity for one to be successful in a leadership role. As a result, diligence in staff development and retention as well as Board recruitment and retention are of the highest priority, and will continue to be for the foreseeable future.
William H. Carr 1952-1954
William H. Woodin III, 1954-1971
Mervin W. Larson, 1972-1976
Holt Bodinson, 1977-1978
Daniel E. Davis, 1978-1989
David H. Hancocks, 1989-1997
Nancy R. Laney (Acting), 1997-1998
Richard H. Daley, 1998-2002
Richard C. Brusca, Ph.D., 2003-2008
Robert J. Edison, 2002-2010
Craig S. Ivanyi, 2010-present