creating elaborate unique court or by embracing technology and trying to share a beautiful creations with as many people as possible. >> william morris was in a difficult position, because he wanted the middle-class to be able to acquire really beautifully made objects. but the piece is that he actually made, you know, took so much handcrafting that there were quite expensive. i think he would have been pleased to know that there are things like restoration hardware anne craig and bare all that tried to make available to the middle-class -- and crate and barrel that tried to make these things available to the middle class. >> over 60 lenders contributed art and craft to the exhibition. one of the partners is london's victoria and albert museum, which has been collecting the finest examples of victorian craft since queen victoria

herself attended the groundbreaking ceremony. the artist of the victorian avant-garde believe that every object could contain an expression of beauty. the attention given when creating a towering sculpture should be the same as when creating a simple cottage gate. they embraced arts for arts own sake. whether in the curl of a flower or a stray lot of unpin hair. surprisingly, sensuality returned to public view during the victorian era. albert moore and others were inspired by ancient greek sculptures and found new uses in modern times. >> many of these paintings are large. when you get close to them, they seem to wrap you in this luscious colors. there's a great sensuality to the paintings, even though there's nothing sexual going on in the pictures. the artists just took delight in luxurious fabrics and colors and

beautiful women. >> symphony in white is a life- size portrait of the immense stress of james wisler. it is featured prominently in the exhibition. harmony in gray and green was an of socially judged as a disagreeable presentation of a disagreeable young lady. the first public reaction of this series was so divisive that led to court proceedings. today, they hang in london's tate gallery. walking to the exhibition, you might be distracted by objects that seem to modern war appeared to be at least art deco era. forward thinking victorian artists emerged the economical ambitions of 18th-century cottage's style furniture with the asymmetrical design elements of japanese art that was introduced to london in 1862. >> so you come out with these

very beautiful and sleek design worms that the artist combined -- a design forms. very modern. our visitors are really surprised that so many of the works at a very modern feel to them. >> they believe that no object needed to be considered worthless or low class. each thing, existing in its own place, was the best thing for its place. and what first seems to be idle showiness, shows the richness of today and yesterday. >> it is exciting to have a project you have worked on for so long coming in know, come to your own museum. and museum curators are among the luckiest professionals, because we get to share with tens of thousands of people the things that give us enjoy and

the things that explain to our visitors the relationship between art and society. art is not just a frivolous, you know, sidebar. it is a very important expression of culture and morals. this particular moment, the artists were interested in community. >> san francisco is the exclusive american host for the cult of beauty exhibition. the legion of honor is website has more information about the artists and tips for planning your visit. learn more at the website. thank you for watching >> you probably think you know all about the exploratorium. but have you ever been after

dark? did you know there was a monthly party called after dark? science mixes with culture and adults mix with other adults. no kids allowed. every week there is a different theme. to tell us about the themes is melissa alexander. tell us about some of the previous themes we have had. >> we have had sex ploration, sugar, red, blue. many things. >> what is the theme tonight? >> rock, paper, scissors. we are having a tournament tonight, but we have also used as a jumping off point to explore lots of different ideas. you can find out about rock, paper, scissors as a game as a reproductive strategy. you can interact with a piece of

art created by lucky dragon. you can get your hair cut from a cool place called the public barber's salon. they use scissors only. you can find out about local geology, too. >> that sounds like fun. let's check it out. >> this is the most common rock on the surface of the earth. interesting thing is, most of this rock is covered over by the ocean. >> error congested a cool presentation on plate tectonics. tell us about what we just saw. >> we wrapped up a section of a lesson on a plate tectonics, here at the exploratory and -- exploritorium. >> are you excited to see people here having fun and learning about science? >> the people that come here

are some selected to begin with, they actually enjoy science. i teach teachers to have fun with their kids. the general public is a great audience, too. they're interested in science. >> we have a blast every time. they have different names. >> they have a bar and a cafe. everything i need. we are excited for the speaker. >> it is nice to be in the exploratorium when there are not a lot of kids around. >> before tonight, i never knew there were major league rules to rock, paper, scissors. i am getting ready to enter into a competition. sarah's here to give me some tips. what do i need to do to win it? >> this is a game of chance, to a degree. one of the best ways to bring it home is a degree of intimidation, maybe some eye

contact, maybe some muscle. it is a no contact sport. sheer i contact is a good way to maybe intimidate to see if you can set them off, see if they throw something they did not mean to. >> i am going to see what happens. >> i got kicked out in the first round. [applause] >> given up for sunni. the rock, paper, scissors champion. >> what are you going to do now? >> i have been having so much fun. i got my tattoo. before we go, i want to thank melissa alexander for having us here tonight. how did you know san francisco needed a night like tonight? >> thank you for coming. everybody loves the exploratorium. we are reluctant to push the

kids out of the way in the day, so i knew we needed to create one evening a month just for the rest of us to have a good time, the adults. >> absolutely. where can we find out what is coming up after dark? >> that is easy, exploratorium .edu/afterdark. >> thank you. thanks for watching>> when stepr died, he was working on one of the biggest shows of his career, matter and spirit. it is a retrospective look at the many faces and faces of the life of an innovative artist from the california clay movement.

stephen de staebler's developed in an area dominated by abstract expression. even his peers saw his form. >> he was able to find a middle ground in which he balanced the ideas of human figuration and representation with abstraction and found it even more meaningful to negotiate that duality. >> another challenge was to create art from a meeting that was typically viewed as kraft material. his transforming moment was an accident in the studio. an oversized vertical sculpture began to collapse under its own weight and spread onto the floor. he sought a new tradition before him, landscape sculpture. >> you feel this extended human form underneath the surface of the earth struggling to emerge.

eventually, it does. it articulates his idea that the earth is like flesh, and the archaeology and geology in the earth are like the bones, the structure of the earth. this tied in with his idea of mother earth, with the sense that we are all tied to nature and the earth. >> a half dozen bay area museums and private collectors loan the massive sculptures to the museum for its matter and spirit retrospective. but the most unusual contributions came from stephen himself. a wall of autobiographical masks and hence from the early decades of his private study. >> he had one of the most beautiful studios i have ever been in. when you walk in, your first impression is of these monumental figures that you see in the exhibition, but if you went into the back corner of his studio, there was a series of

shells with these diminutive figures. he told me, these are the heart of my studio. these little, and held intimate study is that he referred to as his sketchbook. a painter might make drawings. stephen de staebler made miniature sculptures. >> during the 1970's, he was inspired by the monuments of egypt. he assembled a large rocks of clay into figures that resembled the ancient kings and queens. he credited a weathered appearance by rubbing glazes' into the clay while still wet. the misfires from his killed were brought in his backyard in his berkeley home. he called it his boneyard. in the last year of his life, he dug up the artifacts from his own history, and the bones were rearranged, in the were slimmer figures with wings. >> even if you knew nothing about his life or career, you sensed there was an artist

dealing with this fundamental issue of life and death, the cake, netting back together, and you feel there is an attempt to deal with mortality and immortality. there is a seeking of spiritual meaning in an existential stage. >> during his 50-year career, stephen de staebler worked to form and out of the clay of the ground and give it a breath of life. matter and spirit gathers the many expressions of his meditations. and gives the viewer and insight into the artist's life. learn more about the retrospective on line at >> i think a lot of times we look a community and we say, there is this one and this one, and we all have our own agenda, when our agenda is to create great work. if you're interested in that, you are part of our community.

>> it is a pleasure to have you here tonight. >> we are trying to figure out a way to create a space where theater and presentation of live work is something that you think of, the same way that you think of going to the movies. of course, it has been complex in terms of economics, as it is for everyone. artistically, we have done over 35 projects in four seasons from presenting dance, producing theater, presenting music, having a full scale education program, and having more than 50,000 visitors in the building almost every year. a lot of our emerging artists generate their first projects here, which is great. then we continue to try to support figuring out where those works can go. we have been blessed to have

that were produced in new york, go unto festivals, go on to the warsaw theater festival. to me, those are great things, when you see artists who think there is no or else of someone being interested in me being a woman of color telling her story and getting excited about it. that is our biggest accomplishment. artists becoming better artists. what is great about surely coming back to brava, we have this established, amazing writer who has won a slew of awards and now she gets an opportunity to direct her work. even though she is an amazing, established writer, the truth is, she is also being nurtured as a director, being given space to create. >> and the play is described as

ceremony and theater meet. in the indigenous tradition, when you turn 52, it is that the completion of an epic. the purpose of this ceremony is to celebrate. whenever you have been caring for the first 52 years, it is time to let it go. they have given me carte blanche to do this. it is nice for me in the sense of coming back 25 years later, and seeing my own evolution as an artist and a thinker. the whole effort even to put the indigenous woman's experience center stage is very radical. because of the state of fear, it

is a hard road to hold up an institution. it really is a hard road. i am looking at where we're 25 years later in the bay area and looking at how hard it is for us to struggle, to keep our theaters going. i would like to think that i am not struggling quite as hard personally. what i mean by that is that in tension, that commitment. what i see is that we're here to really produce works of not be produced in other places, and also to really nurture and women of color artists. i think that that is something that has not shifted for me in 25 years, and it is good to see that brava is still committed to that kind of work. you know? ♪ >> happy birthday to you happy birthday to you ♪ >> windy will talk about the

reflection of the community, we can only go with what we have on our staff. south asian managing director. african-american artistic director. latino outreach person. to us, aside from the staff, aside from the artists that we work with him being a reflection of oz, yes, the community is changing, but brava has always tried to be ahead of that, just that sense of a trend. i tried to make about the work that shows the eclecticism of the mission district, as well as serving the mission. that is what i feel brava is about. ♪ >> sanrio famous for the designs for hello kitty. i thought i would try to make it

as cute as possible. that way people might want to read the stories. then people might be open to learn about the deities and the culture. ♪ they reached out to make about five or six years ago because of the book published. they appreciated that my work was clearly driven from my research and investigation. after i contributed my artwork, the museum was really beside themselves. they really took to it. the museum reached out to me to see if i would be interested in my own space inside the museum. i tell them that would be a dream come true. it is the classical, beautiful indian mythology through the lens of modern design and illustration and storytelling.

they're all of these great sketch as i did for the maharajah exhibition. i get a lot of feedback on my artwork and books. they complement. they say how original the work is. i am the first person to say that this is so derived from all of this great artwork and storytelling of the past. the research i put into all of my books and work is a product of how we do things that a-- at pixar. sometimes you will see him depicted monkey-like or as superman. i wanted to honor his monkey coloring. i decided to paint him white with a darker face. it is nice to breathe new life

into it in a way that is reverent and honors the past but also lets them breathe and have fun. it is almost a european notion to bring these symbols and icons from southeast asia. they decorate their deities. it was a god they interacted with every day in a human way. the most important thing has been to create work that is appealing to me. i want to see vishnu to pick did in a modern way. it dawned on me by reinterpreting the deities in a way that is modern and reverent to the history, i am building a bridge for young and old audiences to make friends with

the culture and these icons to learn their stories. ♪ >> i tried to think about this room as the dream room, where we dream and bring some of those dreams to life. i feel very blessed that i have been able to spend the last 31 years of my life doing it my way, thinking about things better interesting to me, and then pursuing them. there are a lot of different artists that come here to work, mostly doing aerial work. kindred spirits, so to speak. there is a circus company that i have been fortunate enough to work with the last couple of years. i use elements of dance and choreography and combine that with theater techniques.

a lot of the work is content- based, has a strong narrative. the dancers have more of a theatrical feel. i think we are best known for our specific work. in the last 15 years, spending a lot of time focusing on issues that affect us and are related to the african-american experience, here in the united states. i had heard of marcus shelby and had been in join his work but never had the opportunity to meet him. we were brought together by the equal justice society specifically for this project. we were charged with beginning work. marquez and i spent a lot of time addressing our own

position on the death penalty, our experiences with people who had been incarcerated, family members, friends of friends. pulling our information. beyond that, we did our own research. to create a picture that resonated with humanity. it is the shape of a house. in this context, it is also small and acts like a cell. i thought that was an interesting play on how these people make these adjustments, half to create home. what is home for these people? the home is their cell. people talk a lot about noise -- very noisy in prisons.

that is interesting to me. looking at the communication level, the rise of frustration of being caged, wondering, where does redemption fit into the equation here? [singing] i think both of us really believe the death penalty is wrong, and is flawed for many reasons. the list is as long as my arm -- about several others. we feel this is important for both of us, personally, to

participate in the debate of this issue in a way that we can help people frame it for a conversation. conversation.

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