Collections Close-Up: A Curious Catch

Natural history museums are no strangers to strange fish. Our museum is no exception, even when it comes to exceptional specimens like our Tapertail ribbonfish (Trachipterus fukuzakii) cast. Over six feet of silvery skin punctuated by coaster-sized eyes that seem at once startled and startling, and topped with an unbelievably red dorsal fin, this cast preserves the true-to-life details that defined this curious catch just as it emerged from the Monterey Bay more than 80 years ago. 

In early May 1938, local fisherman Gus Canepa was out on the bay going about his business of trawling for cod. While local news reports differ on the depth, at some point between 2000 and 750 feet he caught an unusually long but eerily thin, distinctly un-cod-like creature. Arriving at the wharf, he immediately shared it with his fellow fisherman. All were intrigued, with one older Italian man claiming to have seen such a specimen only once before, decades prior off the coast of Genoa. 

News spread fast, and inspired the arrival of Dr. Ralph Bolin of Hopkins Marine Station, who first identified the specimen as the illustrious Trachipterus rex-salmonorum, or King-of-the-Salmon. By this time the fish had been transferred to the possession of what was then the Santa Cruz City Museum, led by ocean enthusiast Harry Turver. The local naturalist community was abuzz with excitement – remarking especially on the thinness of the fish, which seemed not to exceed an inch in length anywhere along its body, and the large eyes, which aided in the gathering of minimal light as the animal explored the ocean’s mesopelagic, or twilight zone. The red fins were another source of interest, a feature historian Randall A. Reinstedt in his Shipwrecks and Seamonsters of California’s Central Coast has argued might help explain historical accounts of sea serpents with red manes. 

The enthusiastic interest was shared by the Smithsonian Institute, which, having heard the news of the fish, asked to collect it. In bargaining with Mr. Turver, they emphasized the rarity of the specimen and its importance – at that time they only knew of two specimens of the species, and each had been badly mangled. For the sake of science, and a high quality cast, Turver agreed. The original was packed in 200 pounds of dry ice and shipped east by train, where the Smithsonian preserved it in a tank of fluid. Subsequently re-identified Trachipterus fukuzakii, the specimen is available to researchers to this day.

The same is true of its cast, which has delighted museum visitors since its 1942 arrival (you can even see it in the 1954 photos of opening day at the “Seabright Museum-Library”). A semi-permanent display feature in our exhibit halls, it is currently being refurbished by conservator Alicia Goode to make sure that such a rarity can be shared with our community for another eighty years and beyond.

Even as the cast has become a familiar face to the museum community, the species continues to puzzle scientists. A 2021 review of the Trachipteridae, the ribbonfish family, emphasizes how much work remains to be done to understand these strange fish. This makes it an even better fit for this fall’s Maritime Mysteries and Monsters special exhibit, where the ribbonfish’s re-emergence serves as a testament to the ongoing enigma that is life in the ocean.

Ancient Coastal Connections: Collaborative Archaeology on the Santa Cruz Coast with Mike Grone


Indigenous communities have had relationships with local marine resources for millennia, and science can help shed light on these relationships. Join archaeologist Mike Grone for a discussion about collaborative historical ecology research carried out over the past decade in partnership with the Amah Mutsun Tribal Band, UC Berkeley, UC Santa Cruz, and the Santa Cruz District of California State Parks.

This program will emphasize the application of archaeological data for revitalizing and restoring traditional ecological knowledge suppressed during the mission period, as well as for providing deep time baselines of environmental change and more sustainable approaches for contemporary stewardship practices.

Resources

About the Speaker

Dr. Mike Grone is the Associate State Archaeologist for the Santa Cruz District of California Parks and Recreation. Prior to working for Parks he worked for the Amah Mutsun Land Trust as a manager of their Coastal Stewardship Program and Archaeological Resource Management Program. His research focuses on the historical ecology of coastal resources in the northern Monterey Bay Area and is ultimately geared towards integrating archaeological data and traditional ecological knowledge to guide policy, conservation efforts, and resource management practices.

Guide to Foraging

People have lived along the central coast of present-day California for millennia, surviving and thriving off of the resources that continue to surround us. Today, many of our region’s greatest naturalists are fishers, gardeners, and artists who connect with the natural world through their hobbies, work, or craft. Foraging is for many an entryway into a deeper connection with nature.

Negative Impacts of Foraging

Habitat degradation, increased frequency and intensity of fires, development, and climate change are all stressors that impact native species and reduce vital resources. Foraging has become a popular movement in recent years, often to the extreme detriment of widely sought-after plants like ginseng and white sage.

If you choose to forage, you can ensure that you are doing so in an ethical manner that supports the future health and sustainability  of our environment.

Foraging Ethics 101

1. Protect threatened species

When identifying plants to forage, confirm that population numbers are healthy  to avoid causing additional challenges for organisms already under stress. While many local native species have ethnobotanical qualities, there are also many non-native and invasive species that do, too. By selecting non-native species for forage, you are protecting local natives.

Resources: California Native Plant Society’s Rare Plant Inventory and Calscape.

2. Identification is Key

Never forage something unless you are certain of its ID. Even if you do not plan on consuming the item, if you get the ID wrong you could risk removing something that is rare or threatened. Use three or more points of identification, rather than one characteristic. Some things to consider include: bloom, stem, bark, color, smell, habitat, soil conditions, life cycle, and, in the case of mushrooms, spore prints.

Resources: Jepson eFlora identification key for California native plants, iNaturalist community science database and identification tool, Mushrooms of the Redwood Coast by Noah Siegel and Christian Schwarz, and Fungus Federation of Santa Cruz.

3. Only Take What You Need, and Never Too Much

When foraging for a particular use, only take what you need. More importantly, never take more than what the environment can afford to give. Generally, only take one-tenth from any patch you see, and never from the only patch you find.

It’s a reciprocal relationship. We have a responsibility to take care of this plant—to be responsible for them. So it’s not about going out and just randomly taking. That’s really disrespectful, and it should never be done that way.

Chairman Valentin Lopez, Amah Mutsun Tribal Band
As quoted in How Foragers Reconnect with the Land by Erin Malsbury

4. Know Before You Go

Many parks and open spaces have regulations about or against foraging. It is important to know what the rules are for a given space before foraging.

5. Be Safe

Avoid harvesting near busy roads or hazardous sites and be mindful of any potential pollutants or contaminants that the organisms you’re harvesting might have been exposed to, such as pesticides and heavy metals.

Note About Mushrooms

Mushrooms are the fruiting bodies of a fungal organism. There are different schools of opinion about whether it is better to cut a mushrooms above the soil, or pluck it entirely. If you are picking the mushroom to identify it, it is best to try to remove it in its entirety with as little damage to the surrounding area as possible. Always leave the area where you have picked from tidy. Picking older mushrooms and leaving younger ones is a good way of allowing the most amount of fruiting bodies to go through their full life cycle. Carry your mushrooms in a woven basket to let them continue to drop spores as you walk (this is also better than using plastic bins or bags for the shelf life of your mushrooms).

10/1 Nature Club: Pogonip – A Trip Through History

Picture of a historic stone lime kiln surrounded by ferns

Join us to explore approximately 4 miles of trail in Pogonip, the largest open natural space in Santa Cruz. Enjoy beautiful views of Santa Cruz and the Monterey Bay and learn about our local history by visiting the historic limekilns and examining redwood trees through the lens of time.

Saturday, October 1 | 10 a.m. to 12:30 p.m.
Location: Pogonip
Ages: 6th-8th grade
$10 |$5 Museum Members | Register

What is Nature Club?

Nature Club takes young explorers (6th-8th Grade) into local habitats to learn about the amazing living world around us while making discoveries along the way. Programs are led by Museum staff with kids dropped off at rotating locations, including local parks, open spaces, and of course at the Museum! Exploration and activities help kids learn more about nature through observation and experience while developing a deeper connection to nature and making new friends.

What to Expect

Programs run from 10:00 a.m -12:30 p.m. and occur on the first Saturday of the month. The Museum does not provide transportation to offsite meeting spots, and participants should be dropped off and picked up by parents/guardians. Some programs may be physically rigorous so please email chris.soriano@santacruzmuseum.org if you have questions about trail accessibility. Programs occur rain or shine, barring extreme weather.

Safety

Nature Club will run in compliance with state and county guidance for health and safety. Masks are strongly recommended for all participants, regardless of vaccination status. Participants should not attend if they have been coughing, have a fever, or had recent contact with someone with a positive test.

Scholarships available!

Santa Cruz Sea Monsters with Geoffrey Dunn (recording)

Santa Cruz has a long history of fishing lore, including the legend of the “Old Man of the Monterey Bay.” Geoffrey Dunn is a fourth-generation member of the Santa Cruz Italian fishing colony who grew up with stories about the “Old Man” and sea monsters as a boy, which has influenced his work as journalist, filmmaker, and historian. Join us for the online talk exploring local myths and legends in honor of the exhibit, Maritime Mysteries and Monsters.

About the Speaker

Geoffrey Dunn, Ph. D., is an award-winning journalist, filmmaker and historian and has written extensively about California culture and history. He is the author of several books, including Santa Cruz Is in the Heart (Volumes I and II); The Santa Cruz Wharf: Images of AmericaChinatown Dreams: The Life and Photography of George Lee;  and The Lies of Sarah Palin. His films include Dollar a Day, 10¢ a Dance: A Historic Portrait of Filipino Farm Workers in AmericaChinese Gold: The Chinese of the Monterey Bay Region;Calypso Dreams, and The Glamour Boyz Again. He also served as the on-screen narrator of A Day on the Bay: Portrait of a Ligurian Fishing Colony. Dunn has been writing about Monterey Bay’s maritime history for more than four decades.

Cartoon by Thommy Thompson, San Francisco Call-Bulletin, 1942. 

In Memory of John Anderson

With immense gratitude, the Museum acknowledges the incredible life of John Anderson, who passed away this April. In 1974 John began his 24-year tenure at the Museum, skillfully coordinating the many hats of exhibit installations, public events, and volunteer programs.

To his colleagues and the members of the public, John was an inspiration. 

Longtime friend and first full time Museum Curator Charles Prentiss, speaking in honor of John, underscored how John’s dedication, generosity, and love of life and community service “has enriched all of our lives and the lives of generations to come.” 

That richness is vividly apparent in the life of our Museum. From early iterations of the Fungus Fairs to the first Spring Wildflower Show and the origins of the Art of Nature exhibit — John’s work at the museum facilitated wondrous community natural history happenings. Museum newsletters describe his tireless pursuit of exhibit specimens — including a road-killed skunk still display. Newsletters also speak to the enhancement of docent programs, the expansion of field trip programs for underserved communities, and the establishment of class visits to the newly built indoor tidepool — led by John.

John helped to orchestrate the campaign of fundraising, lectures, walk-a-thons, and community engagement that brought the beloved life-size gray whale sculpture to Tyrrell Park. He was thrilled to see this dream become a reality. This October will be the whale’s fortieth birthday, and we continue to see that enthusiasm reflected in the community each day — in the laughter of climbing children, the delighted stares of beachgoers and the daily pilgrimage of joggers.

John Anderson’s rich legacy is also apparent in other local institutions. In conjunction with other museum and city staff and community groups like the Santa Cruz Longboard Union and the Westside Longboard Coalition, John was instrumental in the 1986 establishment of the Santa Cruz Surfing Museum. His efforts led one city employee to describe him as “the wave under our surfboard.”  

Former Museum Registrar Sally Legakis talked with us about how John’s love of nature was contagious and his knowledge of natural history deep rooted. He led field trips, identified specimens for public inquiries, and helped Sally navigate the contents of the collections. Bolstered by his warmth and generosity, John’s knowledge enabled him to connect people with science and nature in a way that was truly remarkable, and that rings true to our ongoing mission.

I never had the pleasure of working with John Anderson myself, but as the Collections Manager, I have the privilege of maintaining our institutional memory of him. I am often in awe of what our small but mighty team has achieved over our decades-long history, and John is a standout in that impressive crowd. When I think of where he stands out in our collections, I am drawn to our institutional archives featuring years of fun photos that capture key museum moments. Whether he’s leaning into a fern or photographing a fungus, cleaning a tidepool tank or teaching a class program, John is always in the thick of things. He always seems deeply engaged in the moment, hands-on and joyful. Our Museum would not be what it was today if John had not chosen to engage deeply with his work, his community, and the natural world in and around Santa Cruz. 

We are so grateful to John and to those who follow in his footsteps.  

John’s family has organized a page on the online memory platform Kudoboard where folks can share stories and pictures, or just read and reminisce about this incredible person. The contents of the site will be made into a book for the family to cherish.

Written by Kathleen Aston, Collections Manager, 2022

Seabright and the Castle: Then and Now with Dr. Gary Griggs

Santa Cruz’s scenic coastline has long enthralled residents and visitors alike, yet storms, relentless waves, and human impacts have and will continue to change our coastline. Join Dr. Gary Griggs for an examination of these processes through the lens of one of Santa Cruz’s most iconic beaches.

This program is in support of our latest exhibit Remembering Castle Beach.

More About the Talk

Castle (or Seabright) Beach went from being a very narrow seasonal beach to the one of the widest in the county following the construction of the Santa Cruz Small Craft Harbor. Seabright has long been a unique neighborhood with a character that has survived for well over a century. It was considered to be out in the country by Santa Cruz standards when it was first developed as a seaside resort in the 1880s. For years a rather makeshift footbridge over the San Lorenzo River was the main route into town. Each winter it had to be removed to keep the river from washing it away, and Seabright residents had to walk across the railroad bridge, considered dangerous at the time as there was no pedestrian walk as there is today.

Accessibility

  • A recording and follow-up resources will be shared with registrants after the program.
  • This program will be in English.
  • We will be using the webinar format, meaning that participants’ video and mic functions will be disabled.
  • Reasonable accommodation requests can be made by emailing events@santacruzmuseum.org.

About the Speaker

Gary Griggs is a Distinguished Professor of Earth & Planetary Sciences at the University of California Santa Cruz, where he has taught for 54 years. He received his B.A. in Geological Sciences in 1965 from the University of California Santa Barbara and a Ph.D. in Oceanography from Oregon State University in 1968. Gary served as the Director of the University’s Institute of Marine Sciences for 26 years, where he led the development of a Coastal Science Campus. His research, teaching, writing and lectures have been focused on the coast of California and include coastal processes, hazards, and the impacts of and responses to sea-level rise. In 1998 he was given the Outstanding Physical and Biological Sciences Faculty Award at U.C. Santa Cruz, and the Alumni Association honored him with a Distinguished Teaching Award in 2006. The California Coastal Commission and Sunset Magazine named him one of California’s Coastal Heroes in 2009, and in 2010 he was elected to the California Academy of Sciences. Gary chaired a committee in 2017 recommended by Governor Brown to update California’s sea-level rise projections. In 2016 he was appointed to the California Ocean Science Trust. Gary is also a member of the California Ocean Protection Council’s Science Advisory Team and served as chair of California’s 4th Climate Assessment Committee on Coasts and Ocean.

Gary has written 13 books including: Living with the Changing California Coast, Introduction to California’s Beaches and Coast, The California Coast from the Air, Coasts in Crisis – A Global Challenge, The Edge – The Pressured Past and Precarious Future of California’s Coast, Between Paradise and Peril – The Natural Disaster History of the Monterey Bay Region, and most recently The Ominous Ocean: Rogue Waves, Rip Currents and other Dangers along the Shoreline and at Sea.

Patrons Reception

We are excited to announce the upcoming Patrons Reception in 2024, highlighting our impact in Santa Cruz County . This special event will take place indoors and outdoors, featuring a brief presentation showcasing some of the Museum’s special projects around the county. We invite you to join us for delicious light refreshments, drinks, and live jazz. This reception is a wonderful opportunity to express our gratitude for your generous support of the Museum and our programs. It will be a celebration of our appreciation for your vital contributions and commitment to our mission.

We can’t wait to see you !

Saturday, September 28, 2024
5:30 – 7:30 p.m.

What to Expect

  • Festivities will be in- and outdoors, including appetizers, drinks, special collections on view, and a brief presentation.
  • Parking permits will not be required-parking is limited, so please plan a little extra time. Bike parking is always available.
  • We recommend wearing layers for potentially cool weather.

Collections Close-Up: Perfectly Imperfect Perch

Each spring as the surrounding landscape unfurls new life, we open The Art of Nature. This vibrant exhibit of local artists features as many different forms of nature as it does forms of science illustration.  For this month’s Close-Up,  we’re highlighting a method of recording nature found in our collections that makes a particular impression – gyotaku, the art of fish prints. 

At its most traditional, this method relies on minimal supplies to make incredible works – producing fish prints that are both precise and dreamy, crisply capturing the anatomy of the specimens while simultaneously conveying the ethereal quality of the watery world in which they lived. You can see all these qualities in this dynamic print of a pile perch (Rhacochilus vacca) caught in the cabinets of our collections room. Scaly fish with a laterally compressed body, perch are great for gyotaku. More of the fish’s body is easily captured than with a more rounded fish body, as the printer trades the silvery sheen of the fish’s scales for the textured details of its skin and fins.

Printed in the 1960s by then Capitola-based artist Edith Weintraub, this perch print was made in the traditional “direct” method of gyotaku: Weintraub lightly daubed the perch with sumi ink, then delicately pressed Japanese rice paper onto the body and contours of the inked fish to produce a mirror image of the specimen. The fish was caught off the Santa Cruz pier, and this print may have been originally on display at Weintraub’s Out of Print Bookstore and gallery. 

Santa Cruz Sentinal clippings from 1964 and 1965

Edith appears to have been an early American adopter of the art – having made prints with Pacific coast fish for many years already by the time of her 1965 gallery showing. Gyotaku was first introduced in the US in the 1950s, by events like the American Museum of Natural History’s 1956 Gyotaku Exhibit and individual efforts like the introductory gyotaku book published by Yoshio Hiyama in 1964. Almost immediately it was seen as a natural fit for science illustration and natural history textbooks in the U.S. However, the art began almost a hundred years earlier – as a means by which Japanese fishermen in the 1860s could record their finest catch without the help of a camera. 

As it flourished, new aspects of the craft were fleshed out. In addition to direct printing, other traditional methods include indirect printing, where you press the paper onto the fish and then ink the relief; and transfer printing, where you transfer the impression of the fish to a flexible surface, which is used to print onto another surface. Color can be used to accentuate the print, and eyes are often painted on after the initial printing. When all’s said and done, most artists/fisherman can still eat their fish – the entire process is traditionally non-toxic. And even while contemporary gyotaku has evolved to include new tools like computers, most of today’s artists (folks like Naoki Hayashi and Heather Fortner) make a point to talk about the ethics of how they collect their fish and how they are later eaten, composted, or returned to nature.

Edith Weintraub King Fish Print

This is a trend even for folks who aren’t using fish – the term gyotaku is sometimes used to describe the inking and printing of other natural materials – even roadkill.  This flexibility illuminates the technique’s ties to the general practice of nature printing – a centuries long tradition with a variety of global takes that continues to provide stunning images and contemporary insight into the relationship between humans and nature.

Meanwhile, contemporary gyotaku continues to keep the relationship between art, fish, and natural history firmly afloat. As recently as last year, artist Dwight Hwang, who makes gyotaku in the classical Japanese style, collaborated with the Natural History Museum of LA County to record an incredible catch: a female Pacific footballfish (Himantolophus sagamius), one of only thirty or so such specimens to have been found. Not only was this a rare and precious find that was important to document in many ways, the frightening forms of this creature also presented an incredible artistic opportunity. Hwang talks about how his approach to gyotaku, which he sometimes describes as a type of taxidermy, is grounded in a Japanese aesthetic of taking a subject and emphasizing the beauty in its imperfections.

To get a closer look at the perfect imperfections of Edith Weintraub’s local fish prints, and to get a feel for gyotaku yourself, register for our upcoming workshop with local printmakers Lucas Elmer and Janina A. Larenas. 

Remembering Castle Beach: Stories from the Exhibit (recording)

Stroll back in time as you explore the history of Seabright Beach, once called Castle Beach, during this online exhibit preview for Museum Members in honor of the new exhibit, Remembering Castle Beach, opening June 11, 2022.

Executive Director Felicia Van Stolk and Collections Manager Kathleen Aston will take Members behind the scenes of the exhibit, sharing additional stories and a deeper look into the historic photographs, souvenirs, and artifacts that bring to life the heyday of the Scholl Marr Castle and look at how the nearby coastline has changed over time.

Resources