we feature an empty pedestal. it's modeled after the 18 foot tall one that new york revolutionaries left in bowling green after tearing down its monument king george iii and we invite community engagement with it. we do this in two ways first. we provide an ipad preloaded with an augmented reality app called kinfolk which visitors can use to envision monuments to black and brown heroes including surely chisholm whom you see here as well as frederick douglass and the native american activist ruth revels and second. we transform the mt. pedestal into a piece of community driven installation art. there's so many questions about what should be done with contested monuments and who should decide it should offending figures be laying down or half buried. if they stand in own ruin and decay. should they be relocated to a park of fallen monuments or to museums which can provide historical context can context be created on site with the addition of new monuments set in conversation with the old ones should controversial mo

and we raised up enough money and completeded the pedestal in 1886. for agus, his job was to krawiec the statue, but he was very involved in the construction of the pedestal and richard morris hunt designed the modern day pedestal we see today. there were several different designs. he chose richard morris hunt. all the granite came from connecticut. this is exactly how they did it. immigrants were swinging around on rope swings. putting the pieces together. they vary in sizes. took 21 years from our idea to reality. in october of 1886. a huge dedication ceremony is planned. houf, one gender was not invited. women were not invited. the franco american union stated that hey, we cannot guarantee their safety. that was a bunch of hogwash. what they were really saying is that they did not want the statue of liberty to be associated with the woman's suffrage movement, so yes, a group of women here in new york city are very angry. they rent a boat, they circle the island, they shout in protest, how can you build this woman to represent freedom and liberty an

they had looked up and we had barely started work on the pedestal. so it was joseph pulitzer of pulitzer prize familiar. he came up with the idea, he was owner of the new york world here in new york city, they would donate any amount of money and i will print your name in the front page of the newspaper. so money poured in from all over the united states, elementary school children raised money through their classes, and we raised up enough money and we completed the pedestal in 1886. for tolbe, his job was to construct the statue but he was also very involved in the construction of the pedestal. richard moore tontz designed the modern day pedestal we see today. there were several different designs but he chose richard moore hunts'. all of the granite came from connecticut. here is a great depiction of how they put the statue together like a puzzle, and this is exactly how they did it. immigrants were shrinking around on rope swings, putting the pieces together. they were carefully label. they were riveted together. there are 310 sections that make u

two to three weeks in advance to visit the top of the pedestal. you go through a screening process and board the boats in new york at battery park and in new jersey at liberty state park. you have a great experience of sailing in front of the statue. and you can get off and enjoy the statue when you leave from new york. and then when you board the boat here at the statue your next stop will be ellis island which is also an incredible experience. so you can spend a good half day if not a whole day visiting these two great national monuments. statue of liberty and ellis. to wrap it up all, for auguste bartholdi, it was his dream to become rich and famous. unfortunately neither of those things happened for him. but if he were alive today, i think he would be very proud because although he is not famous, his work of art certainly is. >> you can view this and all other american art facts programs at cspan.org.history. the recent american history schedule is on the right side of the page. >>> when you think about a one-day festival, the national book fe

to visit theweeks top of the pedestal. in general, you will make it to lower manhattan, go through a screening process, board the boats and new york at battery park and also in new jersey at liberty state park. you will have a great experience of sailing in front of the statue. you can get off and enjoy the statue. when you leave from new york. and when you board the boat from the statue, your next stop will be ellis island which is also an incredible experience. you can spend a good half-day if not a whole day visiting these two great national monuments. , for thet all up designer, it was his dream to become rich and famous. unfortunately, neither of those happened for him. but if he were alive today, i think he would be very proud. although he is not famous, his work of art certainly is. you can view this and all other american artifact programs on c-span.org/history. select the american artifacts tab and browse recent programs. the schedule is also available on the right side of the page. this monday, on american histor

they raised enough money and we completed the pedestal in 1886. for august bartoldi, his job was to construct the statue, but he was also very involved in the construction of the pedestal. and richard morris hunt designed the modern-day pedestal that we see today. there were several different designs. but he chose richard morris hunt. all the granite came from connecticut. here's a great depiction of how they put the statue together like a puzzle. and here's -- this is exactly how they did it. immigrants were swinging around on rope swings, putting the pieces together. they were carefully labeled. they were riveted together. there are 310 sections make up the statue of liberty. they vary in sizes. took 21 years from idea to reality. but it finally all came together on october 28th, 1886. a huge dedication ceremony is planned and over 10,000 people are invited. however, one gender was not invited. how ironic is that. women were not invited. the franco american union stated, hey, we can not guarantee their safety. that was a bunch of hogwash. what t

there was a bill in the legislature to put up the pedestal. the bill in new york state was vetoed by governor grover cleveland and then the congress voted down the appropriation of $100,000 to pay for the statue, so all the money had to be raised by private sources so bartholdi gets here, doesn't speak english. he knows nobody. the first person he goes to is the editor of a french newspaper that's published in new york. so he speaks to this french person. she says, well, you know, it's not going to do you any good to speak to me. you've got to talk to americans, and so he has a letter of introduction to sumner, the great abolitionist because bartholdi is an abolitionist. he goes to washington and meets sumner. he has this idea about the statue of liberty and people in washington say why are you talking to us about the statue you want to build in new york? you talk to people in new york. the united states was still much, much more a set of separate entities, separate states in the middle of the 19th century, and so he just didn't get -- he didn

on a pedestal over 22 feet high. 4 recumbent lions. he came up with 2 designs of the , and they are paired in the diagonals. these two and these two are identical, marking the corners .f an imaginary pyramid marking the calvary to the north and the artillery to the south. you cannot really see the other they are complementary. they encircle the end groups and viewers to sit close to the monument and get lost in the action. the viewers are sitting in the front row of a movie theater. realistic details at high level including uniforms, terrain, battle debris, horse musculature , and the faces of individual soldiers seen with authenticity. the monument is an essay in offices, contrasting the stillness of grant as he surveyed the battle, and the turbulence of the charging calvary and alternatively. .- and artillery who were at designers behind the memorial? shady was only 31 years old. how was he selected? it is an interesting story. how sometimes an artist's idea is so captivating that the jury will go with the idea, even if the person is

surety was unable to complete their pedestals. he done sketches but they were not fully articulated or developed sketches. his assistance carried out the completion of the panels. there were quite a few letters from his wife who pleaded with the committee and said please just eliminate these infantry panels. were thed felt they overall memorial. i think you please let us eliminate them. they really were committed to having a full conception realized. you can really see that the quality of the casting is not the same level as quality of the casting in other parts of the monument. but was the process? when you look at public art you wonder who was on the committee that selected the artist. who also many designs? what were the parameters? i think we start asking those questions you start abouttanding a lot more the intent of the artist who were selected. as you look at this competition you also discover that just like any other public art project this was not -- this one did not escape controversy. the problem is that at the time the

next, they placed the center rods on top of the pedestals to support the full length of table.ow, they temporarily hung the sections of the distributing table on the crossbar. eventually, these sections would be made up as a strong worktable with stationary pedestal legs. observing safety measures, cappy showed phil how to let down all the racks that would be needed. he particularly cautioned phil against bumping his head on the overhead box hooks. although cappy was completely familiar with the car diagram, he hung it up as a guide for phil. the car diagram showed where sacks and pouches were to be hung in each rack. next, cappy demonstrated how to check for mail which may have been left in the empty sacks. inserting his arm to open the entire sack for inspection. then, as cappy hung the sacks, phil took up the job of inspection, holding each sack open and looking for mail. the post office uses 25 million sacks and pouches. if a letter were lost in one of them, it might be lost a long time. the metal eyes were placed on hooks. so that the sides of each sack became taut, leavin

a tiny pedestal, right there. washington then stands on his pedestal as a symbolic replacement for the toppled king. he sent copies of this print to george washington, including this one. which fortunately eventually made its way back to mount vernon. ever polite and appreciative, washington acknowledged the gift, calling it elegantly ,xecuted and modestly noting was not the late president of the united states a character in this piece, it would now become me of me for fitness of the design. it was dedicated to the congress of the united states. with the optimistic notion that each of the distinguished politicians might be potential subscribers. as we have seen, there was a range of washington prints, from the large, sophisticated highbrow efforts to the modest endeavors available to every man, woman and child. so i would like to return us to where we began. patriotic music. another of edwards engravings was a very tiny version of covert stewart, also from 1798. this small print, trimmed to a circle, seems to have

deserve the pedestal. but if you are tested with being put on the pedestal, you better make sure that your relationship with god is very strong, that is the number one mechanism that goes back to sincerity. do you truly believe, that allah is watching , that allah will deal with every person according to his or her deeds. that faith has to be in a leader, if it's not in the leader you are setting yourself up for trouble because our profit, peace be upon him , clearly said that of the most destructive dangers to people are fame and greed for wealth and power, these are the most destructive to a man's pride, wanting to be famous is destructive for you, wanting to be powerful and wealthy. of these are potentially the most destructive of all diseases and, when you are a leader, these things are given to you on a silver platter, you can't be a leader without fame or a level of prestige and generally speaking, with leadership comes opportunities for at least a little bit more wealth. so, it's a very big temptati

there are different ways that you could knock this person or that thing off the pedestal. there are different levels of outrageousness that you could apply to do that. and, first of all, i am up here because i did take the lsat when i was trying to figure out what i was going to do after college. i scored in the bottom 5th

statue of great granddad standing up except on a pedestal, except at the west at the middle school. at the school, he's not standing, margaret. he's sitting on a bench. this like you can come sit in. that might be his only likeness, to your point. yes, but he was very adamant. don't do that, please. if you do, do not put it up on a pedestal, because i'm not the one looking down on anybody. someone's looking down on me and they're watching. so i'd better do the right thing. so he was very humble that way. just did not need that. so one on that note. let's thank our panel. during world war ii. ♪ ♪ >> on this farm in the rolling hill country of northern maryland, rallying to the call for more food joined the growing army of victory gardeners. this is dad holder. he helps with the heavy work. mother, well, she helps with most everything. grandpa holder, he says the only honest way to get peas is to work for it. brother is in the army, but dick 14 years old takes his place. and this is jane, just 16. grandpa and dad always kept garden plans in their heads, but victory garden plans should

deserve that pedestal. but if you are tested with being put on that pedestal, you had better make sure that your relationship with god is very strong. that is the number one mechanism, this goes back to sincerity. do you truly believe, do you truly believe that allah is watching? [ speaking arabic ] that allah will deal with every person according to his or her deeds? that date has to be in a leader. if it's not in the leader then you're setting yourself up for trouble, because our prophet , may peace be upon him, had so many traditions to regard, they are the most destructive the person or fame and greed or wealth and power. these are the most destructive to a man's or woman's evil and price. fame, wanting to be famous is destructive for you. wanting to be powerful, wanting to be wealthy. these are potentially the most destructible of all diseases, and when you are leader, things are given to you on a silver platter. you can't be a leader without fame, you can't be a leader without a level of prestige and

the philadelphians have already made a pedestal for it.e's about to go and here's the they used to make the statue has toppled over and cracked. they have to start the whole thing over again. he was in quite a sweat that he would have nothing to show, so he goes to philadelphia and waits for his hand. eventually, the hand of drives -- arrives. it is at the end of the world expo. luckily, the weather had gotten nicer. he was able to get people to come by and take a look at the torch. he thought this would make americans crazy with excitement. instead, they were more suspicious. they said the drawings we have and show this big woman there are three people standing at the base of this. is there no enthusiasm in france for the concept? second of all, if it took that much money and effort to make that, how much more would it take to make the entire woman? he does not get the fund-raising he is hoping for. toships this to new york madison square park hoping that will make things happen. at first people are interested because it is so big. over t

it was removed and they left this empty pedestal behind. these are the only two sites i know have been labeled as pioneer monuments explicitly have been removed, but there is a debates about these monuments that are -- -- that are about southern colonialism as well, the pioneer label -- people are less quick to recognize that it also carries settler colonialism and locations. thank you. -- colonialism implications. thank you. [applause] so, thanks to the people who exhorted me to make sure that we follow the time. you have been remarkable. this will set a new pattern for this profession. we have not been so brilliant in the time control, but you have been great. so as a treat, you have a chance to speak to each other, if there is anything anyone wanted to say to any of the presenters among yourselves? i will say myself that it seems an unexpected aspect of this is that the west might have some -- not a lotions of them, necessarily, but traditions of honoring people we would want to honor and having a process that actually -- your story abou

the philadelphians have already made a pedestal for it. he's just about to go and he hears that the plaster form they used to actually make the statue has toppled over as they're moving it and cracked. and they have to start the whole thing over again. so he was in quite a sweat that he would have nothing to show, so he goes to philadelphia and waits for his hand. eventually, the hand arrives, but it's at the very end of the whole world expo. but luckily, the weather had gotten a little nicer. he was able to get people to come by and take a look at the torch. but he had thought this would make americans crazy with exc e exciteme excitement. instead, they were more suspicious. they said, first of all, the drawings we have seen have shown this big woman and there's three people standing at the base of it. is there no enthusiasm over in france for even the concept? second of all, if it took that much money and effort to make just that part, how much more would it take to make the entire woman? so he doesn't get the fund-raising that he's hopi

and then they started to create the concrete structure for the pedestal. but sometimes they would just to stop. and there was this one period of time where they had the the the structure about this height. they had the statue over in paris and everything stopped for about a year. there was nothing, no money. to do it. and bartholdi was frantic because not only was he frantic because he needed to get this thing done, he also had to come up with a way to move it out of that workshop. he couldn't just leave it there forever and. so money was, you know, it was costing money all the time that it not being built. this is when pulitzer steps in. so pulitzer kind of basically hated the rich people of america, but he loved the little man. and so he saw this as a fight of just in just those terms that that if the millionaires would just give their money, the thing would be made. and so he said he wrote an editorial and he said, you know, just forget about them. they're too they're too cheap to do this. we are going to do it. so i'm going to run the name of every per

the figure stand on a pedestal between obelisks. there is a pot of incense represented a pure heart. the other elements of the scheme would have been familiar to his audience. the background scene introducing the new note of bowling green, new york. depicting nmt pedestal where a statue of george the third stood before being pulled down by a crowd of patriots. washington stands on his pedestal as a symbolic replacement for the toppled king. buxton sent improved copies washington, including this one , printed on satin, which made its way back to mt. vernon. the print was printed and dedicated to the congress of the united states with the optimistic notion no doubt that each of those distinguished politicians might be potential subscribers. but as we have seen there was a , range of washington prints from the large sophisticated highbrow endeavors, to the modest efforts available to every man, woman, and child. i would like to return us to where we began -- patriotic music. another of david edwin's engravings of 1798 was a very tiny v

the current plan that i heard is to leave the pedestal empty. i look forward to seeing what the text will say why it is empty. in 1909, as denver was putting up its civil war monument, they also were putting up a pioneer monument. the artist placed prospectors, settlers, a pioneer mother at the base, and the original plan was to put an indian warrior on horseback at the top, but the people of denver freaked out because you couldn't have the progress go from top to bottom, they read it from bottom to top and read this indian warrior is the conqueror of the whites and that was not acceptable, so they substituted kit carson for the indian warrior who was supposed to be wandering off into defeat. and then in portland oregon in 1905 as part of the lewis and clark centennial expedition, we have sacajawea represented as the female guide of the expedition, put up by some elite, white suffragists in portland oregon as essentially a feminist project. a plaque at her feet says in honor of the louis and clark expedition and the mother of oregon. they argue

washington stands on his pedestal as a symbolic replacement for the toppled king . buxton sent proof copies of his print to george washington, including this one printed on printed on-- s -- satin. ever polite and appreciative, washington acknowledged the gift, calling it "elegantly executed." the print was published by bookseller charles smith in new york and dedicated to the congress of the united states with the optimistic notion that each of those distinguished politicians might be potential subscribers. as we have seen, there was a tsnge of washington prin from the large sophisticated highbrow efforts to the modest endeavors available to every man, woman, and child. i would like to return us to where we began, patriotic music. another of david edwin's engravings was a very tiny version of the stewart face, also from 1798. this small print, trimmed to a circle, seems to have been made specifically to paste onto the title of a music sheet. in april 1798, joseph hopkinson of philadelphia composed a piece called "the favorite new federal friendwritten for his gilbe

harold: is anyone going to raise the money to build a pedestal or will they move the pedestal? wants the burden of putting stonewall jackson statue in the park if it's already on the street? edna: the point you raise, harold, also speaks to this option, potentially on-site contextualization. i think i agree the larger statues, finding a home is unlikely and if it has to be pulverized, so be it if there are no takers. that would be unavoidable. but the same scale of this also makes it difficult to imagine moving them also makes it difficult to imagine contextualizing them on site. it was sized and so on. it's hard to imagine what you can do to balance out that and let's be very clear about the fact that the location of the statues and the size of the statues was meant to send an unmistakable message to african-americans that they would not get justice in the court houses in front of which the confederate soldiers stood. they were not welcome in the public spaces downtown, in this case, the charlottesville neighborhood, where literally, african-americans have been driven out of.

or will they move the pedestal. you wants the burden of putting stonewall jackson statue and the part. >> will the point you raise harold also speaks to this option of potential onsite contextual is a shun i agree that particular these larger statues, it is very unlikely, and they have to be pullover pulverize so be it, if there are no takers private or public want them then that would be unavoidable, but the same scale of this statue makes it difficult to imagine moving them also makes it difficult to contextualized them on site and the charlottesville commission that's discuss this said was either taken down or find a way to contextualize. onsite with signs and so on but as you said the scale is such that it's hard to imagine what you could do to balance out and of course let's be very clear about the location of the statues in the size of the statue was meant to sent an unmistakable message that they would not get. they were not welcome in the public spaces downtown in case of the charlottesville literally africa

fund art loan exhibition for the pedestal, that the poem goes into obscurity for the most part. so what happens to the poem and then how does it get united with the statue and then starts speaking to a new generation? >> yeah, yeah, that was one of the things that most surprised me when i did the research for this book is how completely emma lazarus' poem was forgotten for the first 20 years of its life and arguably even for the first 50 years of her life so she writes it in 1833 for the art loan exhibit, fund-raiser and then falls into the obscurity, and it overshadowed by a xenophobic reaction against the huge numbers of people who are pouring in to the united states. and it's beginning in the 1880s and going up until the first world war. there are tens of millions of people who come in and these people for the most part are different or considered to be different from those who are already here. the new people come from southern europe and eastern europe. they are catholics and jews rather than protestants, and so that differentness worries a lot of people, and there's -- the

"operation pedestal." others include "chastize", and "overlord." join in the conversation with join in the conversation with your phone calls, facebook comments, texts and tweets on in-depth live at noon eastern, sunday with max hastings on book tv on c-span 2. and be sure to visit c-span shop to get your copies of books from our featured authors. >>> cspan's landmark cases explores the drama behind significant supreme court decisions. sunday, the 1919 case schenck v. united states, that allows the government particularly in times of war to restrict freedom of speech. watch landmark cases on cspan, online at cspan.org or listen with the cspan radio app. >>> each week, american artifacts takes you to museums and other historic places to learn about american history. next we tour the national museum of the american indian, americans exhibit with the curator. in the battle of the little big horn gallery, she shows us head dresses, shields, and drawings about the 1876 battle. we also explore how depictions of plains indians have changed over time. in n

we took it off the pedestal in massachusetts. it was not in great shape. it had a lot of co-rogues. we had to fabricate different parts to make it presentable in a museum. that is what i've been doing is sheet metal work, vacuuming out places full of bird remains and sand. it is a long long list of things that need to be done but for me, this is a labor of love. when this airplane was manufactured the first place it landed was robins air force base right here. it landed here to get upgrades before it went to germany for service in europe. that was its first arrival. its first operational landing point was robins air force base. that is one of the keys for me, for my personal tie to my airplane. this is my airplane that i flew in vietnam. of the combat missions i flew, i threw 180 missions in this airplane. it is my titanium mistress. it is what brought me home at times when it probably shouldn't have, when i abused it, when i did things in order to survive and punished it and it held together. it is an airplane that i have such strong feelings for. there is no way i could.bring it h

pedestals. on one of the pedestals he painted u.s. grant, and above the pedestals he painted the challenge match him. and the implication is that of course that it was impossible, because nobody could match the savior of the union. once grant was the nominee, the election was effectively over. as grant's nomination and his letter accepting the party's choice were read aloud, the curtain dramatically dropped and nast's paint iing was reveal an of course, everybody went wild and clapped and it was wild. and one thing that is entertain ing as a side note, it was reproduced and you can see from ha harper's weekly, and the image on the left is grant and you can see what i mean about the absence of exaggeration, and the attention to show grant sympathetically as an attractive masculine figure and on the right, the democrat candidate seymour who nast has done terrible things to in regard to the hair and if you can see the shadow that seymour was casting as if the hair was not diabolical enough. >> batm

they left this empty pedestal behind. so these are the only two sites that i know of where the monuments that are labeled as pioneer monuments explicitly have been removed, but as my colleagues have pointed out, there is beginning to be debate around other kinds of monuments that clearly are about southern colonialism as well. that pioneer label, people have been less quick to recognize that it also carries the settler colonial implication. [applause] prof. precott: so, thanks to the people who exhorted me to make sure that we followed the time. you have been remarkable. this will set a new pattern for this profession. think, because we have not been so brilliant with the time control, but you have been great. as a tree, you have a chance to speak to each other, if there is something that anyone wanted to say to any of the presenters? among yourselves? it seems to me -- i will say myself it seems an unexpected aspect of this is the notion that the west might actually have some better traditions. not a lot of them, necessa