over the years? how has the program -- what can the public has an artist engage with? >> for the most part, we worked with metal and wood, what you would expect from a program like ours. over the years, we tried to include artists and all types of mediums. conceptual artists, at installation, photographers, videographers. >> that has really expanded the program out. it is becoming so dynamic right now with your vision of interesting artists in gauging here. why would an artist when to come here? >> mainly, access to the materials. we also give them a lot of support. when they start, it is an empty studio. they go out to the public area and -- we call it the big store. they go out shopping, take the materials that, and get to work.

it is kind of like a reprieve, so they can really focus on their body of work. >> when you are talking about recology, do you have the only sculpture garden at the top? >> it is based on work that was done many years ago in new york. it is the only kind of structured, artist program. weit is beautiful. a lot of the plants you see were pulled out of the garbage, and we use our compost to transplant them. the pathway is lined with rubble from the earthquake from the freeways we tour about 5000 people a year to our facility, adults and children. we talk about recycling and conservation. they can meet the artists. >> fantastic.

let's go meet some of your current artists. here we are with lauren. can you tell us how long have been here so far and what you're working on? >> we started our residency on june 1, so we came into the studio then and spent most of the first couple weeks just digging around in the trash. i am continuing my body of work, kind of making these hand- embroidered objects from our day-to-day life. >> can you describe some of the things you have been making here? this is amazing. >> i think i started a lot of my work about the qualities of light is in the weight. i have been thinking a lot about things floating through the air. it is also very windy down here. there is a piece of sheet music up there that i have embroidered third. there is a pamphlet about hearing dea -- nearing death.

this is a dead rabbit. this is what i am working on now. this is a greeting card that i found, making it embroidered. it is for a very special friend. >> while we were looking at this, i glanced down and this is amazing, and it is on top of a book, it is ridiculous and amazing. >> i am interested in the serendipity of these still life compositions. when he got to the garbage and to see the arrangement of objects that is completely spontaneous. it is probably one of the least thought of compositions. people are getting rid of this stuff. it holds no real value to them, because they're disposing of it. >> we're here in another recology studio with abel. what attracted you to apply for this special program? >> who would not want to come to

the dump? but is the first question. for me, being in a situation that you're not comfortable in has always been the best. >> what materials were you immediately attracted to when you started and so what was available here? >> there are a lot of books. that is one of the thing that hits me the most. books are good for understanding, language, and art in general. also being a graphic designer, going straight to the magazines and seeing all this printed material being discarded has also been part of my work. of course, always wood or any kind of plastic form or anything like that. >> job mr. some of the pieces you have made while you have been here. -- taught me through some of the pieces you have made while you have been here. >> the first thing that attracted me to this was the printed surface. it was actually a poster. it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work

with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create to the three-dimensional? maybe going back from the 3f to 2d. >> everything is in the process of becoming. things are never said or settled. the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for

allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out. everybody is welcome to come out. we have food. sometimes we have gains and bands. it is great time. from june to september, we accept applications from bay area artists. we encouraged artists from all mediums to apply. we want as many artists from the bay area out here so they can have the same experience. >> how many artists to do your host here? >> 6 artist a year, and we receive about 108 applications. very competitive. >> but everyone should be encouraged to apply. thank you again for hosting us. >> thank you for including us in "culturewire." ♪

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and it is a significant way to have our voice heard. exactly 100 years ago, women were given the vote in california. the battle for women's suffrage was not an easy one. it took more than 70 years. a woman could run for president in new york. >> organizing this conference, basically it modeled itself on a declaration of independence for women. it marked the beginning of the women's equality movement in the united states.

>> at that time, women were banned from holding property and voting in elections. >> susan b. anthony dedicated her life to reform. >> suffrage in the middle of the 19th century accomplished one goal, it was diametrically opposed to this idea. >> many feared it would be corrupted by politics. >> women in the 19th century had to convince male voters that having the vote would not change anything. that woman would still be devoted to the home, the family, that they would remain pure and

innocent, that having the vote would not corrupt them. >> support gradually grew in state and local campaigns. >> leaders like ellen clark sgt come repeatedly stopping these meetings -- , repeatedly stopping these meetings as a politically active figure. doing everything they could to ground the campaign in domesticity. >> despite their efforts, the link made it tough whenever voters were in the big city. a specialist in francisco. >> the problem with san francisco is that women's suffrage as an idea was

associated. >> susan b. anthony joined the provision party. a deadly idea in san francisco. liquor was the foundation of the economy. and >> anything that touched on the possibility of prohibition was greatly and popular. >> the first campaign was a great effort, but not a success. >> the war was not over. less than one decade later, a graphic protests brought new life to the movement. >> women's suffrage, the republican convention in oakland, this time it was the private sector response.

300 marched down the streets of the convention center. women were entitled to be here. >> joining together for another campaign. >> women opened a club in san francisco. it was called the votes for women club. if she could get the shopkeepers to have lunch, she could get them to be heard literature. the lunch room was a tremendous success. >> it was the way that people thought about women willing to fight for a successful campaign.

what happened was, the social transformation increase the boundary of what was possible, out word. >> there were parades and rallies, door to door candidacies, reaching every voter in the state. >> the eyes of the nation were on california in 1911, when we all voted. it was the sixth and largest state in the nation to approve this. one decade later, we have full voting rights in the united states. helping newly enfranchised women, a new political movement was founded. >> starting in the 1920's, it was a movement created by the

suffragettes moving forward to getting the right to vote. all of the suffragettes were interested in educating the new voters. >> non-partisan, not endorsing candidates >> -- endorsing candidates, getting the right to vote and one they have their voice heard. >> the 100th anniversary of women's suffrage is taking place throughout the state. bancroft library is having an exhibit that highlights the women's suffrage movement, chronicling what happened in california, bringing women the right to vote. >> how long does this mean going

on? >> the week of the 20th. people do not realize that women were allowed to vote as early as the 1920's. in the library collection we have a manuscript from the end of december, possibly longer. >> in commemoration of 100 years of voting in california. 100 years ago this year, we won the right to vote. around 1911, this is how it would have addressed. and here we are, dressed the same.

[chanting] >> we have the right to vote. >> whether you are marching for a cause or voting in the next election, make your voice heard. thank you for watching. >>.

touring england was a time when robert as mentors were being challenged by a quickly growing middle-class. for endeavour's crew of new artists began to assert themselves, offering new definitions of the athletics of arts and beauty. over 180 objects of avant-garde design and art from the victorian england has been collected inside the legion of honor snoot exhibition, it's the cold of the ec. -- the cult of beauty. >> there was this group of artists that were not only revolutionaries in their artistic expression but also in their personal lives and their interest in democratizing art in introducing beauty into the growing middle-class. >> one of the inspirations for the victorian avant-garde was the industrial revolution. quality household goods were now being mass-produced. artists responded