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Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Heading to Safety


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Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Heading to Safety

Photo By: SMSGT Munnaf Joarder

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

U.S. Army Arts and Crafts Background

After Planet War I the reductions to the Army left the United States with a tiny force. The War Department faced monumental challenges in preparing for Planet War II. 1 of these challenges was soldier morale. Recreational activities for off duty time would be crucial. The arts and crafts system informally evolved to augment the wants 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 a lot more of sympathy and anticipation than of action. Even so, several diverse sorts of institutions had been looking for approaches to support the war effort. The Museum of Contemporary Art in New York was one particular of these institutions. In April, 1941, the Museum announced a poster competitors, “Posters for National Defense.” The directors stated “The Museum feels that in a time of national emergency the artists of a nation are as essential an asset as men skilled in other fields, and that the nation’s initial-rate talent should be utilized by the government for its official design perform… Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm…”
In May possibly 1941, the Museum exhibited “Britain at War”, a show chosen by Sir Kenneth Clark, director of the National Gallery in London. The “Prize-Winning Defense Posters” were exhibited in July via September concurrently with “Britain at War.” The huge overnight development of the military force meant mobilization sort construction at each camp. Construction was quickly facilities had been not fancy rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, although on strenuous war games maneuvers in Tennessee, documented the physical exercise The Bulletin of the Museum of Contemporary Art, Vol. 9, No. three (Feb. 1942), described their function. “Results were astonishingly excellent they showed severe devotion …to the objective of depicting the Army scene with unvarnished realism and a outstanding capacity to capture this scene from the soldier’s viewpoint. Civilian amateur and specialist artists had been transformed into soldier-artists. Reality and simple documentation had supplanted (replaced) the old romantic glorification and false dramatization of war and the slick suavity (charm) of commercial drawing.”

“In August of final year, Fort Custer Army Illustrators held an exhibition, the first of its variety in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, numerous of whom had never ever been within 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 several phases of Army life they had by no means witnessed or heard of prior to. Newspapers created significantly of it and, most critical, the Army approved. Army officials saw that it was not only authentic materials, but that right here was a supply of enlivenment (vitalization) to the Army and a vivid medium for conveying the Army’s purposes and processes to civilians and soldiers.”
Brigadier Common Frederick H. Osborn and War Department leaders were concerned simply because couple of soldiers had been utilizing the off duty recreation locations that were obtainable. Army commanders recognized that efficiency is straight correlated with morale, and that morale is largely determined from the manner in which an person spends his own no cost time. Army morale enhancement by means of good off duty recreation programs is critical in combat staging places.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A system utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and other areas of general assembly was established by the Facilities Section of Special Services. The objective was to present an environment that would reflect the military tradition, accomplishments and the high regular of army life. The truth that this function was to be accomplished by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The strategy was initial tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists had been placed on unique duty to style and decorate the facilities. Additionally, evening recreation art classes have been scheduled three times a week. A second check was established at Fort Belvoir, Virginia a month later. The success of these programs lead to far more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Contemporary Art appointed Mr. James Soby, to the position of Director of the Armed Service Plan on January 15, 1942. The subsequent plan became a mixture of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum plan included a show of Fort Custer Army Illustrators work from February by means of April five, 1942. The museum also included the operate of soldier-photographers in this exhibit. On Might 6, 1942, Mr. Soby opened an art sale of functions donated by museum members. The sale was to raise funds for the Soldier Art System of Particular Services Division. The bulk of these proceeds have been to be used to offer facilities and supplies 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 operates have been 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 boost 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 and every artist at perform there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, sculpture and photography were supplied. Larger functioning space and a lot more instructors had been needed to meet the expanding demand. Civilian art instructors and regional communities helped to meet this cultural want, by delivering volunteer instruction and facilities.
Some proceeds from the Modern day Museum of Art sale had been utilised to print 25,000 booklets named “Interior Style and Soldier Art.” The booklet showed examples of soldier-artist murals that decorated locations of general assembly. It was a guide to organizing, organizing and executing the soldier-artist system. The stability of the art sale proceeds were utilized to obtain 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 Common Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army plan.
Whilst soldiers had been participating in fixed facilities in the USA, several troops have been getting 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 had been lying in hospitals, each on land and in ships at sea. The War Department and Red Cross responded by acquiring kits of arts and crafts tools and supplies to distribute to “these restless personnel.” A range of tiny “Handicraft Kits” had been distributed totally free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the sorts of kits sent.
In January, 1944, the Interior Design Soldier Artist system was much more appropriately named the “Arts and Crafts Section” of Special Companies. The mission was “to fulfill the all-natural human desire to develop, supply opportunities for self-expression, serve old abilities and produce new ones, and help the complete recreation plan through construction perform, 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 1st 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 modest paperback booklet containing 215 photographs of photographs exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern day Art, Armed Forces System, organized an art center for veterans. Abby Rockefeller, in distinct, had a powerful 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, Excellent Old Contemporary: An Intimate Portrait of the Museum of Modern Art. “I asked a single fellow why he had taken up art and he said, Effectively, I just came back from destroying almost everything. I produced up my mind that if I ever got out of the Army and out of the war I was in no way going to destroy another thing in my life, and I decided that art was the thing that I would do.” An additional man mentioned to d’Amico, “Art is like a very good night’s sleep. You come away refreshed and at peace.”
In late October, 1944, an Arts and Crafts Branch of Special Companies Division, Headquarters, European Theater of Operations was established. A versatile plan of handcrafts flourished amongst the Army occupation troops.
The elevated 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 aid implement this new emphasis. The manual contained instructions for setting up crafts facilities, picking as effectively as improvising tools and equipment, and simple information on a assortment of arts and crafts.
As the Army moved from a combat to a peacetime function, the majority of crafts shops in the United States had been equipped with woodworking power machinery for construction of furnishings and objects for individual living. Based on this new trend, in 1946 the program was once again renamed, this time as “Manual Arts.”
At the identical time, overseas programs were now employing regional artists and craftsmen to operate the crafts facilities and instruct in a range of arts and crafts. These very skilled, indigenous instructors helped to stimulate the soldiers’ interest in the respective native cultures and artifacts. Thousands of troops overseas had been encouraged to record their experiences on film. These photographs provided an invaluable signifies of communication amongst troops and their families back property.
When the war ended, the Navy had a firm of architects and draftsmen on contract to style ships. Because there was no longer a want for much more ships, they have been offered a new assignment: To develop a series of instructional guides for arts and crafts. These have been called “Hobby Manuals.” The Army was impressed with the good quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced all through the Army had been so varied and diverse that the plan 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 very first All Army Crafts Contest was also held. When once again, it was clear that the system title, “Hobby Shops” was misleading and overlapped into other forms of recreation.
In January, 1951, the program was designated as “The Army Crafts Plan.” The program was acknowledged as an important Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, skilled leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be carried out in nicely-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 function leathercrafts model constructing photography and woodworking. These programs had been to be conducted often in facilities known as the “multiple-type crafts shop.” For functional causes, these facilities had been divided into 3 separate technical regions for woodworking, photography and the arts and crafts.
Throughout 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 vehicles and the require to repair their automobiles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts had been established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the 1st All Army Art Contest was held. As soon as much more, the Army Crafts Plan responded to the desires of soldiers.
In the 1960’s, the war in Vietnam was a new challenge for the Army Crafts System. The program had 3 levels of help fixed facilities, mobile trailers designed as portable photo labs, and as soon as once more a “Kit System.” The kit plan originated at Headquarters, Department of Army, and it proved to be very popular with soldiers.
Tom Turner, nowadays a nicely-identified 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, mentioned the program was “a godsend.”
The Army Artist System was re-initiated in cooperation with the Office of Military Background to document the war in Vietnam. Soldier-artists have been identified and teams have been formed to draw and paint the events of this combat. Exhibitions of these soldier-artist operates have been produced and toured throughout the USA.
In 1970, the original name of the system, “Arts and Crafts”, was restored. In 1971, the “Arts and Crafts/Skills Development Program” was established for budget presentations and construction projects.
Right after the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an atmosphere of funding constraints the arts and crafts program began charging fees for classes. Far more element-time personnel were utilized to teach formal classes. In addition, a will need for far 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 for the duration of “Project Transition” to develop soldier skills for new careers in the public sector.
The principal challenge in the 1980s and 90s was, and is, to become “self-sustaining.” Directors have been forced to discover far more approaches to create elevated revenue to help defray the loss of appropriated funds and to cover the non-appropriated funds expenditures of the plan. Programs have added and increased emphasis on services such as, image framing, gallery sales, engraving and trophy sales, etc… New programs such as multi-media pc graphics appeal to clients 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 had been sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies have been sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs have been set up to meet soldier interests.
The increased operations tempo of the ‘90’s Army has when once again placed emphasis on meeting the “recreation desires of deployed soldiers.” Arts and crafts activities and a assortment of programs are assets commanders ought to have to meet the deployment challenges of these quite diverse scenarios.
The Army arts and crafts system, no matter what it has been titled, has made some unique contributions for the military and our society in common. Army arts and crafts does not fit the narrow definition of drawing and painting or generating 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, and so forth…)
* 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 creating learning fun, practical and meaningful (by means of the process of designing and creating an object the creator must choose which materials and methods to use, thereby engaging in inventive problem solving and discovery) expertise taught have military applications.
* a way to obtain quality items and save funds by undertaking-it-oneself (generating furniture, gifts, repairing factors …).
* a way to pursue school credit, by means of on post classes.
* a universal and non-verbal language (a image is really worth a thousand words).
* food for the human psyche, an element of morale that enables for person expression (freedom).
* the celebration of human spirit and excellence (our highest kind of public recognition is by way of a devoted monument).
* physical and psychological treatment (motor skill development, pressure reduction, and so forth…).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the planet be like these days if this usually unknown program had not existed? To quantitatively state the general effect of this plan on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts simply because this system existed. 1 activity, photography can present a clue to its influence. Soldiers encouraged to take pictures, beginning with WW II, have shared these images with loved ones and pals. Classes in “How to Use a Camera” to “How to Create Film and Print Pictures” were instrumental in soldiers seeing the outcomes of utilizing high quality equipment. A good camera and lens could make a massive difference in the quality of the print. They bought the top of the line equipment. When they had been discharged from the Army or property on leave this new equipment was showed to the family members and friends. Without having this encouragement and exposure to photography several would not have recorded their individual experiences or recognized the difference good quality gear could make. Households and close friends would not have had the chance to “see” the environment their soldier was living in with out these pictures. Germany, Italy, Korea, Japan, Panama, and so on… have been far away locations that most had not visited.
As the twenty first century approaches, the predictions for an arts renaissance by Megatrends 2000 appear realistic based on the Army Arts and Crafts System practical expertise. In the April ‘95 problem of “American Demographics” magazine, an write-up titled “Generation X” fully supports that this is indeed the situation today. Television and computer systems have greatly contributed to “Generation X” getting far more interested in the visual arts and crafts.
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