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The Optimism of Destruction: Demolition and the Future of the Historic City

The Claypool Hotel, circa 1904-1909 (image Indiana University)

The Claypool Hotel, circa 1904-1909 (image Indiana University)

In June, 1969 Edward Zebrowski held a massive party at Indianapolis’ Claypool Hotel.  The lavish Claypool opened in 1903, distinguished by its gargantuan lobby and opulent meeting rooms and the novel luxury of a private bath in each of the 450 guest rooms.  Numerous conventions met at the Claypool, and in its strategic location blocks from the State Capitol the Claypool was home to both the Republican and Democratic parties and hosted a stream of politicians over three-quarters of the 20th century.  On June 23, 1967, though, 300 Claypool guests including the visiting Tacoma baseball team were forced out to the street by a fire, and by the time Edward Zebrowski had his party in 1969 the hotel faced the wrecking ball.

That wrecking ball was swung by Ed Zebrowski himself, who ushered his guests outside at midnight to watch the floodlit building meet its end.  Such theatrical demolition was Zebrowski’s hallmark:  in 1967 Zebrowski erected bleachers and had an organ player serenade the lunchtime crowd watching the dismantling of the 12-story Pythian building.  His firm dismantled much of the city’s aging architectural fabric over more than a decade of fascinating destructive spectacles, tearing down the Marion County Courthouse in 1962 (built in 1876), the Maennerchor Hall (1907) in 1974, and the Central State Hospital Department for Women (opened in 1888) in 1975.  When Zebrowski was finished, he left a large sign in many of the empty lots proclaiming “Zebrowski was here.”

These three stylish women seem enthralled with the Hyde Park renewal plans (image Eric Fischer).

These three stylish women seem enthralled with the Hyde Park renewal plans (image Eric Fischer).

While Europe was busy rebuilding in the wake of World War II, America simultaneously embraced the notion that modernity required a radically new urban fabric relieved of antiquated, unsightly, and impractical buildings.  For many Americans, urban centers demanded radical material and social intervention that took aim on the eroding historical fabric and displaced select urbanites.  Much of the analysis of urban renewal rhetoric has revolved around the transparent ideological dimensions of displacement and slum ruination, which were clearly fueled by racism, classism, and xenophobia.  Less attention has examined the celebratory and even optimistic dimensions of urban renewal and the hopefulness that was triggered by demolition and freshly emptied space.  The ideologically driven disenfranchisement of “slum clearance” and urban revival are not at all antithetical to the optimism of a newly vacant cityscape, and in fact they often existed alongside each other in an oddly productive symbiosis.

Edward Pierre's 1953 model of Indianapolis in 50 years included much of the historic landscape (image from Ball State University)

Edward Pierre’s 1953 model of Indianapolis in 50 years included much of the historic landscape (image from Ball State University)

Perhaps postwar ideologues realized that some of their ambitions for the city were absurd fantasies—for instance, the 1958 Indianapolis central business district plan aspired to build a heliport downtown so arrivals at the bus and train station could “be flown quickly to any part of town.”  In 1953 architect Edward Pierre was commissioned by the L. Strauss and Company Department Store to envision Indianapolis in 25 years, and he made a fascinating model of his future Indianapolis that actually preserved much of the central city’s historic architecture (alongside the heliport).  Pierre and his partner George Caleb Wright produced much of central Indiana’s most celebrated modernist architecture (e.g., Pierre’s 1954 Indianapolis Home show model now sits on East 56th Street in Brendonwood).  Pierre’s grand dreams were not simply to create a city of steel and glass: in 1936, for instance, he had proposed the construction of “Lockerbie Fair,” a James Whitcomb Riley memorial that would place a historically themed playground around Riley’s eastside home, but that plan never materialized (see Libby Cierzniak’s 2012 piece on Lockerbie Fair and the 1958 plan).  The future cities architects and urban planners proposed may not have been realistic, but their vision was enormously compelling: postwar imagination was captivated by the potential of a sleek future city unstained by historical patina and devoid of visible failures like impoverishment.  A vast range of American and European communities alike joined Indianapolis’ optimistic razing of unpleasantly aging and war-ravaged cities.

The 1958 Indianapolis Central Business District Plan included this heliport.

The 1958 Indianapolis Central Business District Plan included this heliport.

Many of the most celebrated urban plans painted alluring aesthetics of the future city, but some pragmatists dismissed the focus on style.  In 1958, for instance, New Haven, Connecticut’s urban renewal director, Edward J. Logue, blasted the master plans that aspired to remake American cities, arguing that “for a time we thought that to save our cities we needed to dream what the good city ought to be—and make a plan of that dream.  Yet I know of no city where a significant master plan has been carried out. … Too many theoretical planners preferred the applause of elegant critics to the earthier appreciation of politicians who had to try to carry out the plans and get re-elected, too.”  Logue wrote that urban renewal’s purpose “is the renewal of the city of today, not its replacement by some fanciful city of tomorrow,” and he counseled that such projects “cannot be left to ivory-tower planners and volunteer do-gooders.”

In July 1948 Indianapolis Mayor Al Feeney posed at 856 West 11th Street swinging a pick into the wall of a home that was part of the city’s postwar slum clearances.  Like many more postwar communities, Indianapolis founded a Redevelopment Commission in 1945 that was charged primarily with slum clearance, and eventually the city’s transformation reached well beyond impoverished margins alone.  Very little of this razing of the urban core’s historic fabric was greeted with much resistance or a lamentation about the loss of built heritage; if anything, it was greeted quite optimistically.  Demolitions rid the city of various unappealing realities and promised the enchanting blank canvas of newly open lots.  However, in many communities the legacy of postwar architecture is of spaces and buildings that fell into disfavor and lapsed from usefulness and were reduced to various forms of architectural failure.

Optimistic demolition events remain a part of the contemporary cityscape despite the emergence of a preservation movement.  In 1995, for instance, Mayor Stephen Goldsmith stepped aboard a bulldozer and tore down two “crack houses” at 2602 and 2606 Central Avenue, part of a citywide campaign that seized emergency powers to raze 15 properties identified as “public menaces.”  However, a year later the city was taken to court by the owners of one of the homes, arguing that they were rehabilitating the building, which was actually up to code; at least two more property owners from Goldsmith’s celebrated summer demolition campaign likewise took the city to court.

Ed Zebrowski’s demolition theater was perhaps an impressive material and engineering feat, and demolition experts routinely create comparable events in which massive structures are leveled in one fell swoop.  However, the destruction of historic buildings gradually has become its own unpleasant spectacle carried out furtively.  Preservationists may secure some genuine satisfaction in the recognition that demolitions do not simply pass without municipal review and ideally some grassroots community input.  Nevertheless, vast tracts of industrial buildings, commercial architecture, and suburban homes are among the structures that enjoy relatively uneven appreciation and instead are routinely razed or left to rot without much discussion.  Ruins now loom as confirmation of social and material failure that we tend to avoid, and demolitions may elicit more unspoken relief and acknowledgement of postwar planning’s failures than unrestrained optimism.



Dick Cady

1996 A hard hat and a heavy hand not always best way to govern.  Indianapolis Star 13 October: B.1.


Barbara Byers Howard

1964 Policy Development in Urban Renewal: Selected Indiana Cases.  Phd Dissertation, Indiana University.


Edward J. Logue

1958 Urban Ruin—or Urban Renewal?  New York Times 9 November:SM17.


Metropolitan Planning Department

1958 Central Business District Indianapolis Indiana Report.  Metropolitan Planning Department, Marion County Indiana.


Florian Urban

2004 Recovering Essence through Demolition: The “Organic” City in Postwar West BerlinJournal of the Society of Architectural Historians 63(3):354-369. (subscription access)



1958 Indianapolis Central Business District Plan from

Claypool Hotel 1904 image from Indiana University Frank M. Hohenberger Collection

Hyde Park image from Eric Fischer

Pierre Architectural Model image from Ball State University Pierre and Wright Architectural Records Collection

Imagining Heritage: Selfies and Visual Placemaking at Historic Sites

A selfie at the Lincoln memorial (image Joe Flood).

A selfie at the Lincoln memorial (image Joe Flood).

A variety of ideologues routinely reduce selfies to yet another confirmation of our mass superficiality.  Instagram is indeed littered with scores of us primping for our bathroom mirrors and posing at arm’s length for “ego shots”: it seems infeasible to salvage especially profound insight into contemporary society from Justin Bieber’s self-involved posing or Kim Kardashian’s often-ridiculous stream of booty calls.  Nevertheless, the countless online selfies register a self-consciousness about appearance that is likely common in every historical moment, and the recent flood of online selfies may simply confirm that we know we are being seen and we are cultivating our appearance for others.  After looking in the mirror for millennia, digitization has provided a novel mechanism to re-imagine, manipulate, and project a broad range of personal reflections into broader social space.

An image of the facebook page of camp selfies.

An image of the facebook page of camp selfies.

Last week a New Yorker article fueled selfie critics who lamented the apparent narcissism of selfies at Auschwitz.  The page was removed after a host of media decried self portraits at the concentration camp and rejected (or simply did not comprehend) the page’s clumsy attempt to use irony to assess the holocaust’s social meanings.  The Israeli page collected youths’ concentration camp selfies, and the images push irreverence and irony beyond many peoples’ tolerance: the page included typical selfie poses of pouting expressions and stylized self-contemplation, but these selfies were at places like the iconic Auschwitz gates or had sarcastic added descriptions such as “Even here I’m drop dead gorgeous!” Read the rest of this entry

Imagining the Black Suburbs: Homogeneity and African American Suburbia

levey family

The Levey family posed in front of a Levittown home in New York in 1949.

The postwar suburb seems painted in our collective imagination as a White nuclear family standing proudly in front of a standardized tract home and a chrome-accented American car.  Fortunately a rich scholarship on postwar suburbia has complicated or utterly unraveled that and many other suburban stereotypes, underscoring the material, social, and historical diversity of suburban landscapes: we know suburbia included a multitude of architectural forms beyond the interchangeable Levittown box; the roots of the suburbs reach well into the 19th century; working-class families predominated; and we are paying increasingly more attention to the suburban experience along the color line.

Henry Greer advertised his Northwest Street liquor store in December 1935.

Henry Greer advertised his Northwest Street liquor store in December 1935.

In 1947 Henry and Della Greer were among Indianapolis, Indiana’s first African-American suburbanites, and in many ways the story of the Greers and their neighbors might be told in many more places.  Henry was a former hotel porter who worked as a salesman and real estate agent before opening the Demi-Jon Liquor Store on North West Street in December, 1935 (and eventually selling life insurance).  His wife Della was an art teacher at Crispus Attucks High School, where she taught for 20 years beginning in 1936.  The Greers blazed a trail into rural Washington Township that would find them neighbored within a decade by a series of African-American subdivisions. That suburban African-American story has been untold in many communities, swept aside in a broader moral narrative that decries suburban conformity and material homogeneity and seems unable to fathom how the suburbs have been so alluring to so many Americans.  There is no shortage of outstanding scholarship on Black suburbanization (for instance, Andrew Wiese’s Places of their Own: African American Suburbanization in the Twentieth Century), but as these communities transform and in many cases deteriorate their histories risk being ignored and lost on the contemporary landscape.  Despite some wonderful preservation projects in communities like Addisleigh (New York), Berkley Square (Las Vegas), and Conant Gardens (Detroit), many communities seem slow to comprehend the consequence of Black suburban life in the postwar American experience. Read the rest of this entry

The Refined Doughnut: Taste, Class, and Doughnut Respectability

Charleston's Glazed Gourmet Doughnuts offers up this Blue Cheese Cabernet Doughnut: Blue Cheese Cabernet with homemade pear jam, Cabernet glaze, and blue cheese honey drizzle (image Glazed Gourmet)

Charleston’s Glazed Gourmet Doughnuts offers up this Blue Cheese Cabernet Doughnut: Blue Cheese Cabernet with homemade pear jam, Cabernet glaze, and blue cheese honey drizzle (image Glazed Gourmet)

Albuquerque’s Rebel Donut is among a wave of doughnut shops offering up a host of novel flavors, seasonal or organic ingredients, and culinary standards that aim to upset the caricature of the conventional mass-produced doughnut.  Their donut gallery includes such flavors as Red Chile Chocolate Bacon, Nacho, Water Melon, and their Breaking Bad tribute, Blue Sky.  Many of these gourmet doughnut shops go beyond novel flavors alone and embrace a philosophy of food consumption that is rarely extended to the prosaic doughnut.  For instance, Seattle’s Mighty-O Donut’s vegan offerings include French Toast, Chocolate Raspberry, and Lemon Twist doughnuts made from certified organic ingredients.  Few bakeries can rival Mighty-O’s philosophical assessment of the doughnut, noting that when they started the business “our intention was to make an honest living while being mindful of people and respectful of the environment.  We weren’t interested in producing anything that would just end up in a landfill or contribute to the pollution piling up in the world.  … We couldn’t find anyone making a donut the way we envisioned.  A sweet treat with no chemicals, no genetically modified organisms, and no animal products—something everyone could enjoy.”

Dough in New York offers up (top to bottom and left to right) Lemon Poppy Seed, Dulce de leche, Passionfruit with Cocoa Nibs, and Blood Orange (image Wally Gobetz)

Dough in New York offers up (clockwise from top) Lemon Poppy Seed, Dulce de leche, Passionfruit with Cocoa Nibs, and Blood Orange (image Wally Gobetz)

As we approach Doughnut Day on June 6th, the artisan doughnut shop has carved a foothold in cosmopolitan marketplaces.  Gourmet doughnut shops appeal to a consumer imagination that relishes superior flavor, embraces culinary creativity, and fancies that the consumer has a discerning and educated palate.  The gourmet doughnut invokes food as a culinary, political, and intellectual consumer experience.

That vision of food is routinely projected onto products ranging from craft beers to cheese to chocolate.  Perhaps the distinction between gourmet doughnuts and a host of many other artisanal foods is the distinctly plebian nature of the doughnut: Doughnuts are routinely caricatured as mass-produced fare that lacks the complex ingredients of gourmet dishes and is beneath the consideration of skilled chefs.  Doughnuts are often viewed as violations of body discipline, a conscious (if not conflicted) embrace of desire for a food that seems to possess little or no redeeming quality.  Doughnuts are sometimes cast as “downwardly mobile” consumption, an embrace of the common by otherwise bourgeois consumers who see the mass-produced doughnut as a bridge to the masses or ironic consumption.  We spend little time questioning the concept of a craft beer, artisanal charcuterie, or organic olive oil; however, because the doughnut is rhetorically constructed as a junk food characterized by its lack of redeeming qualities, the gourmet doughnut is often a target of popular curiosity. Read the rest of this entry

Burying Trauma: Cemeteries and Heritage at Central State Hospital

The autopsy room in the Old Pathology Building at the former Central State, now Indiana Medical History Museum (image Huw Williams).

The autopsy room in the Old Pathology Building at the former Central State, now the Indiana Medical History Museum (image Huw Williams).

In September 1903 The Indianapolis Journal reported that Oliver S. Clay and his mother Charlotte “for years have lived in their home at 1405 East Sixteenth street, but on account of reverses, financial and otherwise, were compelled to mortgage their property for several hundred dollars, which, on becoming due, remained unpaid.”  In many ways, Clay’s story of ill fortune might well be told of many of his early 20th-century neighbors.  His father J.H. Clay had been the Pastor of the Bethel AME Church in Indianapolis until his death in 1892.  After his father’s death Oliver was an advocate for African-American education and a Black political party, and in the 1902 election he led an African-American movement to vote a blank ballot, telling The Indianapolis Journal that “if the white politicians will give the negroes recognition then he will advocate voting.”  However, like many Americans entertaining the American Dream, Clay’s ambition and hard work ended in tragedy as he was evicted, institutionalized, and eventually relegated to a potter’s field.  The ultimate fate of his mortal remains punctuate both his unfortunate end and the way contemporary society routinely ignores the unpleasant histories at the heart of American life.

In 1901 the Public Library Bulletin reported on Clay’s aspiration to turn his home into what he dubbed the Claysonian Library.  Clay’s collection included “the 315 volumes comprising the library of his father, the Rev. J. H. Clay, deceased, to which have been added by donation a sufficient number of books to make the collection 521 volumes, besides miscellaneous magazines and periodicals.  The object is to cultivate a taste for literature among the young colored people, especially of the immediate neighborhood.”  Oliver Clay’s neighborhood library was dedicated in April 1901 on what would have been his father’s 51st birthday, and several months later he received a gift of 50 volumes from Congressman Jesse Overstreet.  The library subsequently hosted regular events at the Clays’ home and local venues, such as a lecture on the Emancipation Proclamation’s 40th Anniversary in January 1903.

In August, 1903, though, the Indianapolis Sun reported that Clay “has, with the furniture of the institution of which he is founder, been ejected into the street.”  Clay moved his things back into the home and told the newspaper that “`You may say, mistah, that the Claysonian will be re-established in other quatahs soon and that the good work started by me will never die.’”  In September a realtor returned in an effort to eject the Clays and once again “started to move the furniture out into the street.  When he looked up he was gazing into the barrel of a revolver held firmly in the dusky hand of the Claysonian.  `Claysonia forever!’ cried Oliver Clay, `and if you dare to move anything from this house you will forfeit your life.’” Read the rest of this entry

The Disturbed Tomb: Memorialization and Human Remains at the 9/11 Museum

The remains repository wall at the 9/11 Memorial Museum (image 9/11 memorial Museum).

The remains repository wall at the 9/11 Memorial Museum (image 9/11 Memorial Museum).

When visitors tour the newly opened National September 11 Memorial Museum this week they will be greeted by the relics of one of the world’s most traumatic shared events.  The Museum opens to the public May 21st, and its collection of material artifacts, images, and oral memories documents the September 11 and February 2003 attacks on the World Trade Center and examines the broad consequences of global terrorism.  The museum sits in half of the World Trade Center’s 16-acre shadow, a space that may perpetually play out the tensions between its roles as memorial landscape, history museum, forensics repository, cemetery, and tourist trap.

Much of the discussion about the museum has recently revolved around whether the site is an appropriate temporary or permanent resting place for human remains.  Of nearly 3000 people who died September 11, about 1115 remain unrecovered and perhaps represented somewhere among thousands of unidentified human elements recovered from the site.  In August 2011 the Medical Examiner held just over 9006 pieces of human remains (skeletal fragments as well as tissue), most of infinitesimal scale that an examiner described as the size of “a Tic Tac.”  In February 2013 this figure was reported as 8354 human remain samples, and on May 10, 2014 7930 remains were ceremoniously transferred to the 9/11 Museum to be placed in a “repository at bedrock on the sacred ground of the site.”  Those and any remains subsequently recovered will be subject to continuing forensic examinations “temporarily or in perpetuity.” Read the rest of this entry

Unsavory Materiality: The Aesthetics of Institutional Food

A 2008 image of Cheeseburger Macaroni served at a Virginia school.

A 2008 image of Cheeseburger Macaroni served at a Virginia school.

Few dimensions of the material world have more sensory, tactile, and visual impact than food, a point that seems confirmed by the rich food studies scholarship, food advocacy groups ranging from sustainable agriculturalists to local food champions, and the avalanche of desserts on Pinterest.  Nevertheless, somewhat less attention has focused on diners’ experiences of institutional foods: that is, mass-produced foods like the cheese pizza and tater tots clouding elementary school cafetoriums; the nutritionally balanced but unsightly purees scooped onto hospital plates; and the reheated frozen food adorning plastic prison trays and military mess halls.  Observers have long dissected a widespread sentiment that such meals are perceived as unappealing and discarded in massive quantities, but much of this attention fixes on food waste and does not always confront why we find some foods so unappetizing in the first place.

An enormous amount of food photography acknowledges the desires projected onto food and the depth of emotional sentiment invested in images.  A 1996 survey of institutional diners examining negative perceptions of such foods found that consumers rated the “manner of food presentation” lower than every other factor; despite recognizing that many consumers found institutional foods visually unappetizing, though, the study focused on how that reception mirrors our negative stereotypes that precede their consumption, devoting little attention to the ways our visual and sensory interaction with food shapes its consumption.  Observers often seem unable to fathom the idiosyncratic ways we actively perceive, eat, and discard food, and they routinely fail to understand that much of the desire we deny institutional foods is linked to their visual aesthetics. Read the rest of this entry

More Real than Real: Re-Visualizing the Digital Artifact

3D scan of pipe from Camp Misery in Stafford County, Virginia (image courtesy VCU Virtual Curation Museum)

3D scan of pipe from Camp Misery in Stafford County, Virginia (image courtesy VCU Virtual Curation Museum)

Much of the lure of archaeology rests in the seduction of things: we are fascinated with the texture, color, heft, and odor of material artifacts that invoke antiquity, the allure of the alien, and the sensory richness of material life.  Yet we often cannot physically experience artifacts that are in distant places, and many objects are too fragile to be handled.  A variety of technologies now make it possible to produce exceptional 3D digital models of artifacts that can be rendered as visual and even material recreations: now archaeologists can visualize or handle a perfectly accurate scale model of, for instance,a 20th-century cap gun, a butchered dolphin bone from Jamestown, a Roman oil lamp (this example is from a 17th-century context at Jamestown), or an effigy pipe, all scanned by Virginia Commonwealth University’s Virtual Curation Laboratory and included in their Virtual Curation Museum.

Scanning of an Acheulian hand axe (image courtesy VCU Virtual Curation Laboratory)

Scanning of an Acheulian hand axe (image courtesy VCU Virtual Curation Laboratory)

For archaeologists, much of the attraction of 3D artifact scanning is its documentation of artifacts in distant repositories; scanned artifacts can be accessible to scholars even if they remain in private hands; and virtual documentation can assist us in conserving especially fragile things.  Increasingly more archaeologists are no longer wedded to the expectation that their career rests solely on digging sites that are “theirs”; instead, increasingly more of us are working with museum and archival collections, and 3D artifact scanning would allow increasingly more work with curated collections in distant places.  Nevertheless, some of the most interesting implications of 3D scanning may be the new “artifacts” it produces in the form of scans and recreated objects and the ways these digitized things illuminate what archaeologists and audiences consider to be “authentic” artifacts. Read the rest of this entry

Consuming Pethood: Pets as Family

Eddie Williams poses before the mobile billboard being driven around Indianapolis in search of Williams' poodle Boomer (image from WTHR)

Eddie Williams poses before the mobile billboard being driven around Indianapolis in search of Williams’ poodle Boomer (image from WTHR)

A mobile billboard is rolling around Indianapolis Indiana until April 20th pleading for help finding Boomer, a poodle thieved from the car of his owner Eddie Williams. Williams purchased the billboard to circulate through the city for five days offering a $1500 reward for the return of Boomer, no questions asked. The billboard rental cost $1950, in addition to the cost of hiring a private investigator to assist, but Williams dismissed the cost, indicating “I don’t care about the money. What I care about is Boomer.” Williams is a truck driver who travels with his dog, and he said that “He’s not a dog to me he’s a little human. My little human, and he’s my travelling companion.”

The lengths Williams has gone to secure Boomer just a week before Lost Dog Awareness Day probably do not surprise many other pet owners. Boomer is simply one of many pets granted a status that places them firmly alongside humans while illuminating the philosophical complexities of human and natural relationships, childhood, public health, and consumer culture. Boomer and his peers are distinctive if not unique material things quite unlike prosaic commodities, cast as anthropomorphized “family members” endowed with nearly all of the fundamental characteristics we associate with humans. Read the rest of this entry

The Morality of Property and Cultural Patrimony

Peruvian looters' pit (image Nathancraig, Wikipedia)

Peruvian looters’ pit (image Nathancraig, Wikipedia)

This week an FBI art crime team announced that it is investigating a collection from central Indiana that includes a vast range of material things from all over the world, ranging from World War II items to stone tools to human remains.  I have absolutely no connection to this project that happens to be in my neighborhood, but archaeologists and FBI officers who have surveyed the collection have publicly confirmed that it has astounding global and temporal scope and includes thousands of objects.  For archaeologists and observers committed to preservation, the most important implications of the investigation are perhaps not about the specific things in the collection and their ultimate disposition.  Instead, we might be more alarmed by the public response to the investigation, which has rallied to defend the legal footing for such collections, attack the role of the government and archaeologists patrolling artifact trade, and ignore the moral dimensions of human remains as collectibles.

After a news conference this week, the blogosphere theatrically lit up with property rights defenses, conspiracy theories, racist xenophobia, and attacks on the President.  Rather than illuminate how materials such as human remains and mortuary artifacts might be best preserved under genuine museum conditions or returned to legal descendants, the press and blogosphere have fixed on painting the state—and allied archaeologists—as a step away from raiding all our coffee cans of arrowheads.  This is probably an emotionally satisfying response to creeping wariness of the state, but it avoids the moral issues at the heart of this and many more cultural patrimony cases: human remains, mortuary artifacts, and unique culturally specific artifacts have been reduced to the status of property no different than any other thing and accorded no dignified treatment or preservation that is informed by descendants.  During a week that many people raced to ensure that National Geographic did not air a show with World War II German soldiers’ remains, the Indiana investigation has been greeted by a contrasting defense of personal property and nearly no commitment to the dignity of human remains now claimed as collectibles. Read the rest of this entry


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