Furniture Paint

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Peter #53/100 Charity Helper “Mug Shot”

Image by Mark Emery Photography
While out shopping for some food in the village I thought I’d call into the charity shops to see if I could find some bits for my upcoming shoot with Mary. I found a fantastic black "fishtail" dress. I enquired as to it’s size and wished I hadn’t, all four of the staff in the shop asked if it was for me, Peter included. The Cheek! ;o) I love women’s fashion, but on women thanks!

I left it behind the counter and went to get some cash from the ATM. I got a nice chunky red necklace from one of the other charity shops. The lady put it in a small Zavvi bag and I though "There’s a coincidence". Mary had worked at Zavvi part time until it closed (

On returning to the shop I had a chat with the staff, Peter asked me if I’d seen the program about Victorian painting on the telly and we chatted about art and photography. Peter told me he had a number of very old tins of medium format roll film, all with images to do with old furniture and hand tools. He wondered if anyone would be interested in them. I asked Peter if he’d seen the recent photography program. Mr Eastman and his KODAK company changed the way many artists looked at the world, they starting to crop things a lot more in their paintings.

I asked Peter if I could take his shot and said I’d like to get part of the store in. On reflection it would have been impossible not to get part of the busy store in. Every bit of space it used to the full. "Blank wall sir? No, we don’t do those sir" )

After a quick glance around I asked "How about a mug shot with the mugs?". I stood at the top of the short set of stairs down into the shop, the slight elevation helping with the composing of the shot.

Thanks for your time Peter & Co. It hope you like the shot.

Find out more about the project and see pictures taken by other photographers at www.100Strangers.com

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TERP Magazine: Cataloging Grief: Maryland Interns Archive Mementos Left at Vietnam Veterans Memorial

Image by University of Maryland Press Releases
Online: www.terp.umd.edu/4.8/cataloging/

COLLEGE PARK, Md. – One day in 1989, grief came in the shape of a plastic Snoopy doll.

The Marine Corps sergeant rank insignia had been drawn on its arms, and the names of the cities Da Nang and Phu Bai had been scrawled on Snoopy’s feet. On the belly were the words, “To John Thothland, Thanks for being there. —Dan.”

It was left at the Vietnam Veterans Memorial in Washington, D.C., with a letter about the good-luck piece that read in part: “He belongs here with my fellow brothers.”

Snoopy spent the next 22 years in a plastic blue storage container, until Janet Donlin ’09 pulled it out and took the first steps in sharing its story.

The Wall, as it is known, appears to rise out of the Earth itself, the starkest and darkest among the memorials in the nation’s capital. Smooth, impenetrably hard and harshly angled, it doesn’t inspire hope so much as evoke sadness. The polished black granite bears a grim catalog: the names of 58,267 men and women in the U.S. military who died or went missing in the war zone.

Since 1984, survivors and strangers alike have come here to pay their respects, to mourn, to say they haven’t forgotten what sacrifice looks like. The Wall draws 4 million people each year, and some of them leave things there: flower bouquets, POW-MIA bracelets, medals, battered helmets, letters that make your heart hurt.

The National Park Service, or NPS, quietly retrieves these items. Except for the flowers and other perishable items, the agency doesn’t discard the artifacts, but stores and archives them. That’s where the University of Maryland comes in.

The NPS awards grants to Maryland and a handful of other colleges to hire interns to identify, label and catalog these mementos, giving them a unique experience in museum archival work while providing a service to the federal government.

Paul Shackel, Department of Anthropology chair, has worked with the Park Service for more than five years on this project. He says it’s about how people recall the past, which is key to understanding how people think about and remember the Vietnam War.

“There’s a lot to be learned from material culture,” Shackel says. “This project can help students understand the trauma involved in the war, and they’re also learning about collections—what happens to an artifact, how to care for it.”

The work takes place at a NPS museum storage facility that looks like the inspiration for the final scene of “Raiders of the Lost Ark.” Blue plastic boxes stacked 12 high line shelf after towering shelf, each carefully labeled and filled with a week’s worth of Wall mementos. Under the care of curator and Vietnam veteran Duery Felton, they share space with thousands of other items from the NPS and Department of the Interior collections—items that could go back on public display anytime: Gen. Robert E. Lee’s rusty bathtub, Frederick Douglass’ personal library and countless pieces of furniture, artwork and textiles that have a place in American history.

Everything in the repository, from the lowliest Budweiser can left at the Wall to the most fragile Colonial spinning wheel, is stored in a temperature and humidity-controlled environment to protect their conditions.

It reflects a respect for the usually modest Wall artifacts. Bob Sonderman, director of the 60,000-square-foot facility, even now chokes up when he shows visitors a selection of notes and other items now encased in glass.

“The objects can really talk to you,” he says. “They really can.”

Most of the artifacts in the collection, however, haven’t been handled or catalogued since being removed from the Wall. The intern program allows the NPS to reduce that backlog.

Janet Donlin, who majored in anthropology and history at Maryland, takes personal photos of many of the items she enters into the NPS database, “just to remember them.” Her parents, grandfathers, uncle, sister and cousins have served or still do serve in the military.

“This makes me feel like I understand their experience more,” she says of her internship. “My grandfather doesn’t talk about his time in Vietnam at all. I like to think that the letters I read here are kind of like his stories.”

Donlin also likes thinking that the items she catalogs—such as the Snoopy, the Texas flag paired with plastic yellow roses and the helmet decorated with aces and spades that shared one bin—will resonate with others who may someday see them.

Zachary Singer ’10, who finished his internship in January and is now a doctoral student in anthropology at the University of Connecticut, was grateful to be a part of a project “saving America’s culture history.” He normally studies the prehistory of North America, so he also appreciated the opportunity to work with contemporary artifacts.

He and Sonderman note that the items people leave at the memorial have evolved over time.

The National Park Service’s Sonderman says the Wall artifacts (above) that the interns are cataloging make up “one of the finest contemporary museum collections in the United States.”

In the first years, veterans spontaneously set down key chains or can openers or letters they’d kept since the war, but as years have passed, the personal connection has grown more distant and the items are left more symbolically. One group recreated a tiger cage, or bamboo cell where American POWs were tortured. A group of veterans from Wisconsin parked a gorgeous Harley-Davidson motorcycle, custom airbrushed with war images on its shiny paint, at the Wall after consulting with the Park Service on the donation.

The Harley regularly goes on exhibit with other haunting and touching Wall mementos at places such as the Office of Veterans Affairs in New York City or the Smithsonian National Museum of American History.

The inventory the NPS interns are developing will make it easier than ever to select which objects to exhibit publicly—particularly at the Vietnam Veterans Memorial Education Center planned next to the Wall. The foundation behind the Wall’s funding and construction is raising money to support “telling the story behind every name” of the fallen. It’s a story told through the mute testimony of the offerings left at this somber shrine.

They range from the prosaic—beat-up boots, baseballs, high school yearbooks—to the poignant, like the “return to sender” care package from 1972 that was left at the Wall with a note reading “Charles Stewart—Mom & Dad want you to have these cookies and Kool-Aid. It’s time they gave these to you. They send all their love. — Gary B.”

“You never know what you’re going to pull out of a box,” Singer says. —TERP

Want to learn more?

Join the University of Maryland Alumni Association (http://terpnation.net/) now to automatically receive Terp magazine and to stay connected to the University of Maryland community.

Contact Info: dottalin at UMD.edu

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Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Capoeira

Image by familymwr
Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Capoeira

Photo By: 1LT Stephanie Wilson

To learn more about the annual U.S. Army Photography Competition, visit us online at www.armymwr.com

U.S. Army Arts and Crafts History

After World War I the reductions to the Army left the United States with a small force. The War Department faced monumental challenges in preparing for World War II. One of those challenges was soldier morale. Recreational activities for off duty time would be important. The arts and crafts program informally evolved to augment the needs of the War Department.
On January 9, 1941, the Secretary of War, Henry L. Stimson, appointed Frederick H. Osborn, a prominent U.S. businessman and philanthropist, Chairman of the War Department Committee on Education, Recreation and Community Service.
In 1940 and 1941, the United States involvement in World War II was more of sympathy and anticipation than of action. However, many different types of institutions were looking for ways to help the war effort. The Museum of Modern Art in New York was one of these institutions. In April, 1941, the Museum announced a poster competition, “Posters for National Defense.” The directors stated “The Museum feels that in a time of national emergency the artists of a country are as important an asset as men skilled in other fields, and that the nation’s first-rate talent should be utilized by the government for its official design work… Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm…”
In May 1941, the Museum exhibited “Britain at War”, a show selected by Sir Kenneth Clark, director of the National Gallery in London. The “Prize-Winning Defense Posters” were exhibited in July through September concurrently with “Britain at War.” The enormous overnight growth of the military force meant mobilization type construction at every camp. Construction was fast; facilities were not fancy; rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, while on strenuous war games maneuvers in Tennessee, documented the exercise The Bulletin of the Museum of Modern Art, Vol. 9, No. 3 (Feb. 1942), described their work. “Results were astonishingly good; they showed serious devotion …to the purpose of depicting the Army scene with unvarnished realism and a remarkable ability to capture this scene from the soldier’s viewpoint. Civilian amateur and professional artists had been transformed into soldier-artists. Reality and straightforward documentation had supplanted (replaced) the old romantic glorification and false dramatization of war and the slick suavity (charm) of commercial drawing.”

“In August of last year, Fort Custer Army Illustrators held an exhibition, the first of its kind in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, many of whom had never been inside an art gallery, enjoyed it thoroughly. Civilian visitors, too, came and admired. The work of the group showed them a new aspect of the Army; there were many phases of Army life they had never seen or heard of before. Newspapers made much of it and, most important, the Army approved. Army officials saw that it was not only authentic material, but that here was a source of enlivenment (vitalization) to the Army and a vivid medium for conveying the Army’s purposes and processes to civilians and soldiers.”
Brigadier General Frederick H. Osborn and War Department leaders were concerned because few soldiers were using the off duty recreation areas that were available. Army commanders recognized that efficiency is directly correlated with morale, and that morale is largely determined from the manner in which an individual spends his own free time. Army morale enhancement through positive off duty recreation programs is critical in combat staging areas.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A program utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and other places of general assembly was established by the Facilities Section of Special Services. The purpose was to provide an environment that would reflect the military tradition, accomplishments and the high standard of army life. The fact that this work was to be done by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The plan was first tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists were placed on special duty to design and decorate the facilities. Additionally, evening recreation art classes were scheduled three times a week. A second test was established at Fort Belvoir, Virginia a month later. The success of these programs lead to more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Modern Art appointed Mr. James Soby, to the position of Director of the Armed Service Program on January 15, 1942. The subsequent program became a combination of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum program included; a display of Fort Custer Army Illustrators work from February through April 5, 1942. The museum also included the work of soldier-photographers in this exhibit. On May 6, 1942, Mr. Soby opened an art sale of works donated by museum members. The sale was to raise funds for the Soldier Art Program of Special Services Division. The bulk of these proceeds were to be used to provide facilities and materials for soldier artists in Army camps throughout the country.
Members of the Museum had responded with paintings, sculptures, watercolors, gouaches, drawings, etchings and lithographs. Hundreds of works were received, including oils by Winslow Homer, Orozco, John Kane, Speicher, Eilshemius, de Chirico; watercolors by Burchfield and Dufy; drawings by Augustus John, Forain and Berman, and prints by Cezanne, Lautrec, Matisse and Bellows. The War Department plan using soldier-artists to decorate and improve buildings and grounds worked. Many artists who had been drafted into the Army volunteered to paint murals in waiting rooms and clubs, to decorate dayrooms, and to landscape grounds. For each artist at work there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, sculpture and photography were offered. Larger working space and more instructors were required to meet the growing demand. Civilian art instructors and local communities helped to meet this cultural need, by providing volunteer instruction and facilities.
Some proceeds from the Modern Museum of Art sale were used to print 25,000 booklets called “Interior Design and Soldier Art.” The booklet showed examples of soldier-artist murals that decorated places of general assembly. It was a guide to organizing, planning and executing the soldier-artist program. The balance of the art sale proceeds were used to purchase the initial arts and crafts furnishings for 350 Army installations in the USA.
In November, 1942, General Somervell directed that a group of artists be selected and dispatched to active theaters to paint war scenes with the stipulation that soldier artists would not paint in lieu of military duties.
Aileen Osborn Webb, sister of Brigadier General Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army program.
While soldiers were participating in fixed facilities in the USA, many troops were being shipped overseas to Europe and the Pacific (1942-1945). They had long periods of idleness and waiting in staging areas. At that time the wounded were lying in hospitals, both on land and in ships at sea. The War Department and Red Cross responded by purchasing kits of arts and crafts tools and supplies to distribute to “these restless personnel.” A variety of small “Handicraft Kits” were distributed free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the types of kits sent.
In January, 1944, the Interior Design Soldier Artist program was more appropriately named the “Arts and Crafts Section” of Special Services. The mission was “to fulfill the natural human desire to create, provide opportunities for self-expression, serve old skills and develop new ones, and assist the entire recreation program through construction work, publicity, and decoration.”
The National Army Art Contest was planned for the late fall of 1944. In June of 1945, the National Gallery of Art in Washington D.C., for the first time in its history opened its facilities for the exhibition of the soldier art and photography submitted to this contest. The “Infantry Journal, Inc.” printed a small paperback booklet containing 215 photographs of pictures exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern Art, Armed Forces Program, organized an art center for veterans. Abby Rockefeller, in particular, had a strong interest in this project. Soldiers were invited to sketch, paint, or model under the guidance of skilled artists and craftsmen. Victor d’Amico, who was in charge of the Museum’s Education Department, was quoted in Russell Lynes book, Good Old Modern: An Intimate Portrait of the Museum of Modern Art. “I asked one fellow why he had taken up art and he said, Well, I just came back from destroying everything. I made up my mind that if I ever got out of the Army and out of the war I was never going to destroy another thing in my life, and I decided that art was the thing that I would do.” Another man said to d’Amico, “Art is like a good night’s sleep. You come away refreshed and at peace.”
In late October, 1944, an Arts and Crafts Branch of Special Services Division, Headquarters, European Theater of Operations was established. A versatile program of handcrafts flourished among the Army occupation troops.
The increased interest in crafts, rather than fine arts, at this time lead to a new name for the program: The “Handicrafts Branch.”
In 1945, the War Department published a new manual, “Soldier Handicrafts”, to help implement this new emphasis. The manual contained instructions for setting up crafts facilities, selecting as well as improvising tools and equipment, and basic information on a variety of arts and crafts.
As the Army moved from a combat to a peacetime role, the majority of crafts shops in the United States were equipped with woodworking power machinery for construction of furnishings and objects for personal living. Based on this new trend, in 1946 the program was again renamed, this time as “Manual Arts.”
At the same time, overseas programs were now employing local artists and craftsmen to operate the crafts facilities and instruct in a variety of arts and crafts. These highly skilled, indigenous instructors helped to stimulate the soldiers’ interest in the respective native cultures and artifacts. Thousands of troops overseas were encouraged to record their experiences on film. These photographs provided an invaluable means of communication between troops and their families back home.
When the war ended, the Navy had a firm of architects and draftsmen on contract to design ships. Since there was no longer a need for more ships, they were given a new assignment: To develop a series of instructional guides for arts and crafts. These were called “Hobby Manuals.” The Army was impressed with the quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced throughout the Army were so varied and diverse that the program was renamed “Hobby Shops.” The first “Interservice Photography Contest” was held in 1948. Each service is eligible to send two years of their winning entries forward for the bi-annual interservice contest. In 1949, the first All Army Crafts Contest was also held. Once again, it was clear that the program title, “Hobby Shops” was misleading and overlapped into other forms of recreation.
In January, 1951, the program was designated as “The Army Crafts Program.” The program was recognized as an essential Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, professional leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be conducted in well-equipped, attractive facilities on all Army installations.
The program was now defined in terms of a “Basic Seven Program” which included: drawing and painting; ceramics and sculpture; metal work; leathercrafts; model building; photography and woodworking. These programs were to be conducted regularly in facilities known as the “multiple-type crafts shop.” For functional reasons, these facilities were divided into three separate technical areas for woodworking, photography and the arts and crafts.
During the Korean Conflict, the Army Crafts program utilized the personnel and shops in Japan to train soldiers to instruct crafts in Korea.
The mid-1950s saw more soldiers with cars and the need to repair their vehicles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts were established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the first All Army Art Contest was held. Once more, the Army Crafts Program responded to the needs of soldiers.
In the 1960’s, the war in Vietnam was a new challenge for the Army Crafts Program. The program had three levels of support; fixed facilities, mobile trailers designed as portable photo labs, and once again a “Kit Program.” The kit program originated at Headquarters, Department of Army, and it proved to be very popular with soldiers.
Tom Turner, today a well-known studio potter, was a soldier at Ft. Jackson, South Carolina in the 1960s. In the December 1990 / January 1991 “American Crafts” magazine, Turner, who had been a graduate student in art school when he was drafted, said the program was “a godsend.”
The Army Artist Program was re-initiated in cooperation with the Office of Military History to document the war in Vietnam. Soldier-artists were identified and teams were formed to draw and paint the events of this combat. Exhibitions of these soldier-artist works were produced and toured throughout the USA.
In 1970, the original name of the program, “Arts and Crafts”, was restored. In 1971, the “Arts and Crafts/Skills Development Program” was established for budget presentations and construction projects.
After the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an environment of funding constraints the arts and crafts program began charging fees for classes. More part-time personnel were used to teach formal classes. Additionally, a need for more technical-vocational skills training for military personnel was met by close coordination with Army Education Programs. Army arts and crafts directors worked with soldiers during “Project Transition” to develop soldier skills for new careers in the public sector.
The main challenge in the 1980s and 90s was, and is, to become “self-sustaining.” Directors have been forced to find more ways to generate increased revenue to help defray the loss of appropriated funds and to cover the non-appropriated funds expenses of the program. Programs have added and increased emphasis on services such as, picture framing, gallery sales, engraving and trophy sales, etc… New programs such as multi-media computer graphics appeal to customers of the 1990’s.
The Gulf War presented the Army with some familiar challenges such as personnel off duty time in staging areas. Department of Army volunteer civilian recreation specialists were sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies were sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs were set up to meet soldier interests.
The increased operations tempo of the ‘90’s Army has once again placed emphasis on meeting the “recreation needs of deployed soldiers.” Arts and crafts activities and a variety of programs are assets commanders must have to meet the deployment challenges of these very different scenarios.
The Army arts and crafts program, no matter what it has been titled, has made some unique contributions for the military and our society in general. Army arts and crafts does not fit the narrow definition of drawing and painting or making ceramics, but the much larger sense of arts and crafts. It is painting and drawing. It also encompasses:
* all forms of design. (fabric, clothes, household appliances, dishes, vases, houses, automobiles, landscapes, computers, copy machines, desks, industrial machines, weapon systems, air crafts, roads, etc…)
* applied technology (photography, graphics, woodworking, sculpture, metal smithing, weaving and textiles, sewing, advertising, enameling, stained glass, pottery, charts, graphs, visual aides and even formats for correspondence…)
* a way of making learning fun, practical and meaningful (through the process of designing and making an object the creator must decide which materials and techniques to use, thereby engaging in creative problem solving and discovery) skills taught have military applications.
* a way to acquire quality items and save money by doing-it-yourself (making furniture, gifts, repairing things …).
* a way to pursue college credit, through on post classes.
* a universal and non-verbal language (a picture is worth a thousand words).
* food for the human psyche, an element of morale that allows for individual expression (freedom).
* the celebration of human spirit and excellence (our highest form of public recognition is through a dedicated monument).
* physical and mental therapy (motor skill development, stress reduction, etc…).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the world be like today if this generally unknown program had not existed? To quantitatively state the overall impact of this program on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts because this program existed. One activity, photography can provide a clue to its impact. Soldiers encouraged to take pictures, beginning with WW II, have shared those images with family and friends. Classes in “How to Use a Camera” to “How to Develop Film and Print Pictures” were instrumental in soldiers seeing the results of using quality equipment. A good camera and lens could make a big difference in the quality of the print. They bought the top of the line equipment. When they were discharged from the Army or home on leave this new equipment was showed to the family and friends. Without this encouragement and exposure to photography many would not have recorded their personal experiences or known the difference quality equipment could make. Families and friends would not have had the opportunity to “see” the environment their soldier was living in without these photos. Germany, Italy, Korea, Japan, Panama, etc… were far away places that most had not visited.
As the twenty first century approaches, the predictions for an arts renaissance by Megatrends 2000 seem realistic based on the Army Arts and Crafts Program practical experience. In the April ‘95 issue of “American Demographics” magazine, an article titled “Generation X” fully supports that this is indeed the case today. Television and computers have greatly contributed to “Generation X” being more interested in the visual arts and crafts.

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“I’m glad cave people didn’t invent television, because they would have just sat around and watched talk shows all day instead of creating tools” ~

Image by turtlemom4bacon
~Dave James ~

This was the closest I came to see a barn while visiting Texas.
Located in the TEXAS WILD part at the Ft. Worth Zoo in a Western town like it was a long time ago.

It is also the last in a series of buildings seen in the TEXAS WILD. To look at the others, please view my TEXAS SET of photos.

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Blacksmith
Wikipedia~

A blacksmith is a person who creates objects from iron or steel by forging the metal; i.e., by using tools to hammer, bend, and cut. Blacksmiths produce things like wrought iron gates, grills, railings, light fixtures, furniture, sculpture, tools, agricultural implements, decorative and religious items, cooking utensils, horseshoes and weapons.

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Texas Wild!
Texas Wild! paints a thorough picture of our state’s size and scope. The exhibit moves beyond the two-dimensional experience of viewing animals in their natural habitats. In doing so, Texas Wild! addresses issues not typically addressed in zoos. As a result, the overall experience empowers visitors with information on how to become great stewards of the land.

Texas Town
An authentic-looking turn-of-the-century Texas Town serves as the next destination on a trip around the state. Featuring a Play Barn for the youngest visitors and a Texas Hall of Wonders chock-full of interactives and multi-media displays, activities in the Texas Town set the stage for the rest of the tour.

www.texaswild.org/

www.komatsu-inc.com/Fort Worth Zoo.htm