this was an independent jewish museum that saw was one of the first jewish museums in the country and has what was considered to be the third largest collection of jewish artifacts and regional history. in 2010 it wins through major transformation into became the first jewish collection of sorts to be come part of a public university and now is the collection of jewish art and life at the university of california at berkeley. >>> people don't know but that collection is really a well known for lots of innovations in both its concept and the collection and always it's become an educational as a model for the country of getting this latest incarnation of really moving in to a university setting is quite to where you can create in talk a little bit about how that came what division is in that context. this collection has been used a variety of ways for the first 50 years of its history and has innovated the perception of jewish life in the country focusing on local and to was the first regional jewish historical society in the country but also global and it was collected widely across th

we love the connection with the museum. we all love the museum and we enjoy fundraising. we believe in what they do. so i would say there's probably 140 active members of this museum currently. and everyone is work hard to put the show on every year. >> that's great. you say it's a fundraiser. i don't understand how the fundraiser part works. >> you pay to come into the museum 20rbgsdz for general add -- $20 for general admission to see bouquets to art. and we have underwriters as parts of the show. we have wells fargo and city national bank, fremont bank. we have mrs. willby who is a good friend of ours. >> she's been on mosaic several times. >> during the week we have other elements that raise money for us. we have lunches and teas. we have beautiful lunches. they're 55 55 lunches. those are on tuesday wednesday and thursday. >> of this week? >> of this week. and we also have beautiful afternoon teas on tuesday wednesday and thursday afternoon at 3:00. they cost $35 and they're lovely sea sandwiches and cookies and cakes and tea. >> how do i find out about this? who do i

it is one of the few cities to have its own asian art museum. that is a wonderful reflection of our city's commitment to not only the history of the population and growth and ties to the far east, but also honors the diverse art we have in the city. so many museums are looking at how they can contribute to not only the residents here, but what i think the nation is on course to do, something that i know charlotte and i talk a lot about, that is promoting our international status, making sure that we have an art museum that appeals to the kids in the tenderloin, to the kids all over the city, to the families we have in the city, but also to be special to our international visitors. i think, n.j., your honor, creating -- i think, jay, creating this and branding is a great thing. last year, there was a financial challenges that occurred all over the world. worldwide economic challenges. if the old models of how you depended on certain bonds or going to be challenged, well, of course they became a challenge to our museum. we got together with the cit

the third, the asian art museum in bites all to engage. in other words, the asian art museum is for all people. offering a new perspective that is bold and confident but inviting everyone to engage. now it is time to unveil at our new visual identity. may i invite the mayor and our board chair tony to join me in cutting the ribbon. >> wow. it is time. as these folks get in place, i am going to count down. we are all going to say asian altogether. get ready with your scissors. i am going to begin my countdown. 3, 2, 1. asian. wow. [applause] >> now that the mayor and board chair has helped us through this point, may i invite them up for some pictures? >> thank you, mr. mayor. thank you, tony. let me repeat once again the three qualities we want our visual identity to convey. a new perspective, bold and confident, and asian arts museum invites all to engage. as you may know, this inverted market is from a mathematical science known as a universal quantifier. we whaant everyone to know thate are here to engage you. we want to awaken and inspir

we had to take the walls of of the back of the museum and moved inside. on the way out, you may want to peak at the corner to see it. to protect a work of art, you have to let it sit for 24 hours to acclimatize. this tells you the caliber of the objects in the show. to the right is a wonderful piece of jewelry, a turbaned ornaments. the show also includes objects of multimedia. for example, the largest piece. it also includes paintings, sculptures, furniture, a tremendous collection of art. as always, our visitors can enjoy the excellence of individual works of art, on an individual basis, but would be what to do differently is to add a new dimension. we want to call out those stories. we want to object to talk about themselves, to tell us what makes a maharaja. how did he conducts his public life? maha means big, raja means king. so literally, and baking. how did he live his everyday life? how did he conducts his religious duties? negotiatinart and politics is an marriage, in this case, too. so we want to offer our visitors multiple choices. you can enjoy

the sewell-belmont museum is committed to sharing the story suffrage. thank you. the museum is a national historic langek documenting the continuing effort by women and men of all races, religions and backgrounds to win voting rights for women under the law.ter a year of con cataloging and exhibit design, i'm thrilled to say that the museum has reopened as of may of this last summer. when the national woman's party moved to ad final headquarters, it was considered to be an embassy for the women of the nation. activity, and a vantage point from which they may keep congress under perpetual observation. [ applause ]r, they transitioned to an institute for education and preservation and we began the long journey of preserving and sharing this notable history. as a leader in the fight for women's suffrage and equal rights, the nwp initiated tactics and strategies revolutionary even by today's standards. they women were the first to picket the white house and we are able to exhibit many banners from the collection that tells this compelling story. along with images of t

the sewall-belmont house and museum director. page harrington has been executive director of the sewall-belmont house since 2008 executive director of the sewall-belmont house since 2008. she served as president of united states naval memorial working with senior u.s. navy leadership to facilitate the reorganization of the business programs. she received her business degree at san diego state university and earned two masters degree from the university of san diego. her first in public history, historic preservation and teaching and second in nonprofit management and leadership. in addition to her work at the sewall-belmont house and museum she serves on the board of directors for national women's history sites. would you please welcome paige harrington? [ applause ] >> thank you. thank you tom. thank you so much. we're delighted to be here for the second year in a row to celebrate women's equality day. i want to thank tom definitely, his extra help in making sure that everything runs smoothly is very well appreciated. the sewall-

and also were honored to have carried the museum curator at mission santa felt welcome to both of you. joe is from new york so he is the out of town here and terry is from center felt for generations and we welcome you both. >>> you mentioned to respond when i come to the center fell area and san francisco if you let them at home because some of my roots are here. >>> let's talk about that little bitch. tell us all little history of your grandfather. >>> he was born in rome in 1881 and his mother passed away when he was very young 11 and 12 years old. his father did not want to raise himself he put them in a home for orphaned boys are boys only have one parent and it was called and it was on the tiber river and it was there that he learned how to paint and scope and had a very good background for about eight years there. >>> they top the fine arts including music and over the centuries that actually have produced quite a few well-known artists and musicians. greta that's where he got his start >>> he worked for a while on the dome of the cathedral in muni i think it's the fourth large

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 ca

when i was visiting the benington museum a few summers ago i not only made the acquaintance of james wilson, first american commercial globemaker but i discovered the unique power of objects to tell a story that's not available to us from the textural record. to be honest, i had come to the museum really -- although i said i came to look at objects i came to look at the cure torial files, looking at text, which i was much more comfortable with. an exhibit on vermont furniture in the early republic. but as i wandered through the sunlit main gallery where the museum's treasured objects were displayed, i started to see things that helped me understand how artisans and consumers -- and those are really the two groups -- imagined their world. first my eye was struck by a large neoclassical sideboard that you see here with this -- oops. with this graceful bow front and sleek lines looking for all the world like a sophisticated boston product, but it was made in windsor, vermont. in fact when you look at the inlays here, you can see that three of the inlays go in one direction and the fourt

the u.s. holocaust museum in washington, dc. a panel discussion on war crimes tribunals, both past and present. it's about an hour and a half. >> my name is kevin. and on behalf of the united states holocaust memorial museum and its committee on conscience, the aspen institute justice and society program and the united nations institute of peace, i'm pleased to welcome you all here this evening. as a member of the museum's lawyers committee, i've had the pleasure to be associated with this institution for quite a long time. like you, i am moved by the force of will of the survivors and the compelling nature of their stories. and i am struck by the museum's many partnerships and educational programs that allow it to reach a wide and diverse audience. but perhaps most impressive is the extraordinary relevance that this one horrific historical event has for so many people who seemingly have no personal connection to it. in fact, with the millions of people that the museum reaches every year, there really is no limit to the issues th

. >>> this video set to music has been playing around the museum for the past six nights. so what's the deal? we sent our own matt jablow out there to get it for us. he joins us live from the mall where it is playing right now. matt. >> reporter: derek, what do you get when you combine a classic american love song, some terrific vid okay grief, and one -- vid dee okay grief -- videography? this is it. there's a new exhibit at the hirschhorn sculpture garden. >> fascinating. >> reporter: actually, the museum is the exhibited. at least a big round part of it. >> many of the images move and float around the building. >> reporter: it's called song one by multimedia artist doug aiken who married a wide variety of images to various versions of the classic ballad stilt only have eyes four." ♪ i only have eyes for you >> can't get enough of the song. >> reporter: he combined it all into a 35-minute presentation that's continuously projected by 11 high-definition projectors all around the outside of the museum from sunset to midnight seven days a week. >> what it's really about is

spencer worked for more than 20 years at the smithsonian, at the museum of american history, and the last nine he led and reinvigorated that museum as its director. and then the city, the country was fortunate that he went to cincinnati to run the underground railroad and freedom center, in essence, legitimizing a very important cultural institution. so in essence, what i would argue is that all of us who care about history, all of us who care about museums, all of us who care about public education and understanding of the african-american past, of the american past, should be grateful for the life and career of spencer crew. join me in welcoming dr. spencer crew. >> thank you, lonnie. the check will be in the mail. what a pleasure to be here this morning, and good morning. >> good morning. >> i don't know quite what to say after that introduction from lonnie. he and i have been good friends for a long, long time, and i sort of measure what i do by how well lonnie responds to it and assesses it. so that assessment from him means an awful lot to me in terms of just thinking about the

there's a new exhibit at the hirschhorn sculpture garden. >> fascinating. >> reporter: actually, the museumthe exhibited. at least a big round part of it. >> many of the images move and float around the building. >> reporter: it's called song one by multimedia artist doug aiken who married a wide variety of images to various versions of the classic ballad stilt only have eyes four." ♪ i only have eyes for you >> can't get enough of the song. >> reporter: he combined it all into a 35-minute presentation that's continuously projected by 11 high-definition projectors all around the outside of the museum from sunset to midnight seven days a week. >> what it's really about is turning the museum into liquid architecture. >> reporter: carrie broward is one of the exhibit's biggest fans and the curator. >> it's really an mating our national mall at nighttime. >> reporter: as you can imagine, the exhibit, which the museum calls the first of its kind in washington, is gadget lot of looks and a lot of comments. >> very roman toys, and it draws you in. it's a wonderful use of the building in a differen

the museum of confederacy gets ready to open doors, but some are upset what will not be flying on the front doorstep. we'll explain coming up. >>> now this is an interesting one. there is some disagreement over a new museum about to open up. it is the museum of the confederacy. it opens indication week and outside, it's going to fly the flag of every southern state. it would also fly the flag of the united states. but it will not be flying the confederate flag. now a group called virginia flaggers is not so happy about that. but, the museum's executive director says the flags that will fly outside will be part of a permanent exhibit demonstrating the reunification. >> a confederate flag does not belong in that because the confederacy neither conceded nor did the confederacy -- >> that's why i represent the veterans and soldier who's gave their blood, gave everything for us. >> now the confederate flag has not been omitted from the museum. 22 confederate flags will be on display inside. we all know the confederate flag is controversial, but this is a con ned rat museum. shouldn't the f

joe's grandfather did the art and teri's the museum curator at san rosel. tand we talked earlier about the stations of the cross that he did. there's a story about two of them that have gone missing, correct? >> seven years ago, when i was hired as the museum curator, i noticed in the interior in the church that two looked quite different. stations 4 and 11 are very different. i asked around the pair rick, had anyone seen the other stations that i was curious about. it was told to me that 4 and 11 were taken out. there was significant water damage to the stations and that, in fact, they were taken away. they were either restored or thrown out. >> oh, my. >> the replacements are in there. i've taken them out. the copies on the back had a date from 1996 and a name we have a hard time discerning. >> so around 1996, someone took out the pictures, they needed help. >> yeah, they needed to be cleaned. and they've been long gone since about '96. >> they're signed in the corner. so, this is something for the audience to get involved with here. i presume this is goin

what can you do to help make the museum become a reality? ongress and tell them you support the national history museum and want to know they support it too. you want them to authorize making the land available on which the building will sit. second, follow merle streep's lead. she gave a million dollars to the museum. most of us may not have a million dollars to spare, but every bit helps because a museum is not taxpayer funded. if you're feeling so moved, why not make a contribution in rush limbaugh's name. it seems only fitting he should help fund the museum in which sandra fluke's portrait will likely hang some day, thanks to him. >> walk me through -- because the thing that was most profound was the origin of the women suffrage movement. there's a little museum in seneca falls that really represent and tracks the suffrage movement going back to its origin. what i picture in my mind is something that captures the entire history of women's liberation through all these different lenses. is that what we're talking about representing for our

the museum reached out to me to see if i would be interested in my own space inside the museum. ould 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 import

i want to salute the museum's committee on conscience for its work on genocide prevention around the world. a worthy aspect of this museum's mission to educate and to remember. and now i want to turn it over to michael abromitz. >> thank you, meryl for that kind introduction. what meryl did not say was that michael chertoff, her husband, is also the chairman on the committee of conscience and we enjoy working with the chertoffs in general so thank you, meryl. i'm the director of the genocide program at the holocaust museum which is the mission since we opened our doors 20 years ago. if you go upstairs and after you go through our permanent exhibition on the holocaust you'll come to our interactive installation which focuses on the genocide of rwanda and in darfur and we are working on a lot of different levels and a lot of different ways to really focus public and policymaker attention on the ongoing problem of genocide in our time. i would like to thank our partners this evening, first of all, our new partnerships the aspen institute and we're also aside this evening by the u.s. inst

generations of this is the museum opens its kids center where regular classes are organized the children from the age of five years old. actually reverted to me all of the course teaches angela as if i would like to try it out for myself and not see it in perspective. i'm sure that applies the paint to the canvas using a wooden and metal tool i follow not that it's difficult it's almost like a single eye numbers. what you think. some will paint from the palette first the sky and the streets the houses and details. from illicit all programs and workshops to historical prestigious schools in the council industry moscow is a multi-million dollar industry but close every year whether as a child's hobby or professional into russia passionately takes everything by the horns canvases and pallets and changes and we finish with the murray nazi about a fiery helmet a city at night to leisurely track the heart out well unfortunately that's was how we have left on this week's program on painting and drawing here in the russian capital and the best os in the world i'll see you again at the same time

and the scientific technology museums. as a competitive process. the proposal that be put forward -- that we put forward those to the idea of creating pilots around the city, to a college that there are teenagers around the city in we have a great potential for great organizations to serve you. through organizations like the california academy of sciences, having a platform of kqed public radio to put that information out there, to have a platform to display the works created. we took advantage of it. it is a planning grant. obviously, not all of the solutions are identified. we have 18 months to test out different programs, and test out this huge network of organizations and how they can solidify something like the hive learning network in chicago, supported by ongoing funding, incorporating not just a small group, but hundreds of partners throughout the city like this. which is one of our collaborators on the grant. we have 18 months to work it out. outcomes include the pilot projects, learning network, and the main libra

the welles historical museum. he hired an architect to design a series of galleries to display all the antiques. with great pride and fanfare he unveiled this plan that he was quite hot for, as he said, to his family and friends. and they were underwhelmed. his only son, george welles said, these are his words, not mine. museums are dead institutions. only old people like you go to them. your collection is important, but if you want to get children today and the children yet to come to be interested in it, you need to have a village. you need to put it in context in a living village with waterpower for running saw mills and gristmills and the shops where people will carry on these old trades that if we don't preserve them will die out. and that's how old sturbridge village came to be. they bought the farm we are standing on within a week of that fateful statement. and started moving in old buildings from all six new england states. by 1946, despite the great depression, a few hurricanes, world war ii, a near fatal

nick reynolds is an intelligence on historians and is presently, by the way, the historian for the museum at cia, at the central intelligence agencies, working specifically on oss, which they have done ampb will will an exhibit on. he's been several books to his credit, a one on marine operations and also he's done a book on resistance in world war ii. it's an interesting spectrum. nick, we're delighted to have you here. we're very interested to have you here. [ applause ] >> thank you, peter. thank you all for coming out to hear my story. what i'm going to talk about, as peter told you, is the hemmingway family and intelligence in world war ii. what my thesis is, involved in intelligence to a greater extent than has previously been acknowledged. this was something that they like to do and his brother lester and his son john or bombi and they thought they were very good at it. i'm going to tell you that the results are a little bit of a mixed bag and i'm going to tell you there were surprising lay players whose role on the stage has not been previously acknowledged. i would say the dramat

. >> i have been doing large-scale paintings in the galleries and museums, and the idea that in the future, i could do something that would hang out a little bit longer than the duration of the installation the kind of appeal to me. i quickly found out about the san francisco arts commission school and realized there was a pre-qualified school you had to apply to, so i applied to the. >> how long did it take you to develop this work for the plaza? >> this was a fast track project. design development was about a month. >> let's look at the beautiful mural. i have never seen a mural created on asphalt. >> the heat of the asphalt, a new layer of asphalt. then, these wire rope templates that were fabricated for the line work get laid down and literally stamped into the asphalt, and then everything was hand-painted. >> maybe you could talk about some of the symbolism, maybe starting in the middle and working out. >> [inaudible] the flower of industry. >> it is like a compass. there's an arrow pointing north. >> within the great bear consolation, there are two pointed stars here. they typically

the exhibit will be here through january 6th when it begins a tour of museums across the nation. >>>undreds of high school students from our area are competing in the regional first robotics competition. this happens this weekend at the washington convention center and this year's fast pace tournament is called the rebound rumble. it's a basketball sort of game, has four hoops at each end of the playing field and during the matches six robots take the field trying to score as many baskets as possible into their hoops. now the higher the hoop, the more points each team receives. winners advance to the world championship in st. louis next month. [ trumpets playing ] >> some of the best trumpet players in the country are here in virginia. see who is giving them some instruction. >> if you've been out working in the yard and sneezing, here's the reason why. the pollen count is not only high for try, it's very high for tree pollen, low for grasses, weeds and mold spores. we'll come back and talk about another cold front on the map and what it means to our weekend. >> but up next caught on

coming up next, military and intelligence historian nicholas reynolds speaks at the international spy museum about the larger than previously acknowledged impact of hemingway's espionage during the war and his connection to the soviet union. this is about an hour and 20 minutes. >> well, good morning, and welcome back on what appears to be a lovely day. getting warmer. i think it's been a great series, frankly. i have enjoyed every one of them. [ applause ] >> thank you. okay. and you're a great crowd, by the way. you're here, you're on time. we don't always have that. so this morning will be the last of our series out of courtesy to our speaker if you'd be kind enough to turn off your pdas and cell phones, that would be a help. it can interfere with the amplification. by the way, one of the things that did come up today, there were several inquiries at the back about our other programs and what we have at the museum, you can certainly put your yourself on our e-mail list, get our e-mail blast, we put out a communique every three months on all the programs that are coming and that would incl