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NAVOCEANO employees enjoy the annual command picnic held at Stennis Space Center on May 18. U.S. Navy photos released.
Command Sgt. Maj. Tuileama Nua, Western Regional Medical Command command sergeant major and former Pacific Regional Medical Command command sergeant major, retired at Tripler Army Medical Center on the oceanside front lawn, April 27, 2012.
Marshallese citizens, distinguished guests, traditional leaders, USAG-KA personnel, contract employees and family members attend the USAG-KA Change of Command Ceremony at the Kwajalein Flight Hangar June 30. USAG-KA welcomes incoming Col. Thomas S. Pugsley to the garrison and bids a fond farewell to outgoing USAG-KA Commander Col. Jeremy Bartel. (U.S. Army photos by Jessica Dambruch)
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About the U.S. Army Installation Management Community:
IMCOM handles the day-to-day operations of U.S. Army installations
around the globe - We are the Army's Home. Army installations are
communities that provide many of the same types of services expected
from any small city. Fire, police, public works, housing, and
child-care are just some of the things IMCOM does in Army communities
every day. We endeavor to provide a quality of life for Soldiers,
Civilians and Families commensurate with their service. Our
professional workforce strives to deliver on the commitments of the
Army Family Covenant, honor the sacrifices of military Families, and
enable the Army Force Generation cycle.
Our Mission: To provide standardized, effective and efficient
services, facilities and infrastructure to Soldiers, Civilians and
Families for an Army and Nation engaged in persistent conflict.
Our Vision: Army installations are the Department of Defense standard
for infrastructure quality and are the provider of consistent, quality
services that are a force multiplier in supported organizations'
mission accomplishment, and materially enhance Soldier, Civilian and
Family well-being and readiness.
To learn more about IMCOM, visit us online:
IMCOM Official Web Site - www.imcom.army.mil/hq/
Flickr Photostream - www.flickr.com/photos/imcom
YouTube - www.youtube.com/installationmgt
Twitter - www.twitter.com/armyimcom
Facebook - www.facebook.com/InstallationManagementCommunity
Scribd - www.scribd.com/IMCOMPubs
CNN iReport - www.ireport.com/people/HQIMCOMPA/
DoD Live Blog - usarmyimcom.armylive.dodlive.mil/
U.S. Air Force Brig. Gen. Thomas Kennett (left), Assistant Adjutant General for Air, North Carolina National Guard (NCANG), and Col. Michael Gerock (right), give a round of applause to Col. Bryony Terrell, Commander of the 145th Airlift Wing (AW), during a Change of Command Ceremony held at the NCANG Base, Charlotte Douglas International Airport, June 9, 2018. Terrell is the first female commander for the 145th AW and is a third generation Airmen. Terrell’s grandfather served in the Army Air Corps, and her father was a rescue pilot in Vietnam.
Catalog #: 00063911
Manufacturer: Command-Aire
Designation: 5C3
Official Nickname:
Notes:
Repository: San Diego Air and Space Museum Archive
I think you can fly the space shuttle once you figure out how to get your name up there on the scoreboard.
A colleague of a colleague had a bowling birthday party and we were invited along.
Exploring a Track Machine, but most of my photo's have come out looking like something the Russians Might have used in the Space Race!
More than 150 noncommissioned officers from the 8th Theater Sustainment Command’s 8th Special Troops Battalion officially inducted 17 new NCOs into their Corps during a ceremony, June 7, aboard Logistic Support Vessel 7, an Army Reserve asset that belongs to the 9th Mission Support Command. For more great photos, visit
Col. Eric Teegerstom relinquishes command of the Nebraska Army National Guard's 92nd Troop Command over to Col. Gary Ropers during a change of command ceremony, Sept. 9, 2018, at the Army Aviation Support Facility No. 1 in Lincoln. (Nebraska National Guard photo by Spc. Lisa Crawford)
CSM Hall and MG Stein recieve an award from GEN Dunwoody and CSM Mellinger for Industrial Operations Safety for TACOM LCMC.
Kind of sums up yesterday {the important part [to me], at least}. Today's will come tomorrow - getting the computer late at night these days, so I'm falling behind!
g'night.
U.S. Army Installation Management Command's Commanding General Lt. Gen. Rick Lynch and Command Sgt. Major Neil Ciotola hosted a farewell townhall event Nov. 15 with Headquarters, IMCOM, employees at Fort Sam Houston, Texas.
____________________
About the U.S. Army Installation Management Community:
IMCOM handles the day-to-day operations of U.S. Army installations
around the globe - We are the Army's Home. Army installations are
communities that provide many of the same types of services expected
from any small city. Fire, police, public works, housing, and
child-care are just some of the things IMCOM does in Army communities
every day. We endeavor to provide a quality of life for Soldiers,
Civilians and Families commensurate with their service. Our
professional workforce strives to deliver on the commitments of the
Army Family Covenant, honor the sacrifices of military Families, and
enable the Army Force Generation cycle.
Our Mission: To provide standardized, effective and efficient
services, facilities and infrastructure to Soldiers, Civilians and
Families for an Army and Nation engaged in persistent conflict.
Our Vision: Army installations are the Department of Defense standard
for infrastructure quality and are the provider of consistent, quality
services that are a force multiplier in supported organizations'
mission accomplishment, and materially enhance Soldier, Civilian and
Family well-being and readiness.
To learn more about IMCOM, visit us online:
IMCOM Official Web Site - www.imcom.army.mil/hq/
Flickr Photostream - www.flickr.com/photos/imcom
YouTube - www.youtube.com/installationmgt
Twitter - www.twitter.com/armyimcom
Facebook - www.facebook.com/InstallationManagementC ommunity
Scribd - www.scribd.com/IMCOMPubs
CNN iReport - www.ireport.com/people/HQIMCOMPA/
DoD Live Blog - usarmyimcom.armylive
Wendell, NC -- Ceremony honoring Session 002 graduates of the North Carolina State Highway Patrol's Command College.
Tseng Kwong Chi, Born Hong Kong, China 1950-
died New York City 1990
Paris, France, from the series East Meets West, 1983, printed 2008, gelatin silver print, frame: 37 1⁄4 × 37 1⁄4 in.
n his signature series East Meets West, Tseng Kwong Chi created a role for himself he called the "Ambiguous Ambassador." Wearing a Mao suit (the gray uniform associated with the Chinese Communist Party) and mirrored sunglasses, he posed next to landmarks and monuments, many of them emblems of American national identity.
Tseng highlighted the signifying power of dress and posture. As an immigrant and person of Chinese descent, he was also conscious of how Asians are stereotyped in the West. His donning of the Mao suit in public was a tongue-in-cheek performance of "Chineseness" that both played to and subverted assumptions about race, culture, and nationality.
“I am an inquisitive traveler, a witness of my time, and an ambiguous ambassador.”
Tseng Kwong Chi was a conceptual performance artist and photographer. In addition to documenting New York City’s downtown art scene of the 1980s, he is known for creating irreverent quasi-self-portraits that depict him in a persona he called the "Ambiguous Ambassador."
Tseng was born in Hong Kong, where his Chinese Nationalist parents escaped following the Chinese Communist Revolution in 1949. In 1966, Tseng and his family emigrated to Vancouver, Canada, where he completed high school. He later studied photography at the École Supérieure d'Arts Graphiques in Paris, France.
Upon moving to New York City in 1978, Tseng quickly found himself at the heart of its burgeoning avant-garde art and countercultural movement. At queer-friendly East Village venues such as Club 57 and the Mudd Club, Tseng befriended and photographed artists including Keith Haring, Ann Magnuson, and Kenny Scharf. During his long friendship with Haring, he documented the painter’s work, including his early guerilla-style subway drawings. In Tseng’s own practice, an interest in performance, identity, and portraiture emerged. For photo essays published in the alternative paper The Soho Weekly, Tseng satirically fashioned his artist friends as heteronormative suburban preppies (It's a Reagan World!, 1981) and traveled to DC to take the portraits of conservative politicians such as Jerry Falwell in front of a crumpled American flag (Moral Majority, 1981).
The mutable and socially constructed nature of identity is explored in Tseng’s most well-known body of work, a group of photographs originally titled East Meets West. These approximately 150 images constitute a continuous project yet move through several discernible phases. Between 1979 and 1982, Tseng traveled around the United States, posing in his “Mao suit” next to well-known monuments and landmarks. Starting in 1983, he went international, eventually creating images in Europe, Brazil, and Japan. In 1986, Tseng began photographing himself mostly in dramatic natural landscapes. Around this time, he started referring to his series by a new title, The Expeditionary Works.
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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REDSTONE ARSENAL, Ala. -- The U.S. Army Materiel Command Band performed a FREE Holiday Concert for the community "A New Home for the Holidays" on Sunday, December 11 at 3:30pm at The Thurber Arts Center, Randolph School.
Command of the 111th Military Intelligence Brigade was passed from Col. Scott Fitzgerald to Col. Loren Traugutt in a COVID-19 modified ceremony held in Hangar 3 on Libby Army Airfield June 19, 2020. Maj. Gen. Laura Potter, commander of the U.S. Army Intelligence Center of Excellence was the reviewing officer. (U.S. Army photo by Tanja Linton)
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Lt. Col. Kevin Hutchison, U.S. Army Garrison Kaiserslautern commander, accepts the Garrison Organizational Colors from Col. Robert Ulses, U.S. Army Garrison Baden-Würtemberg commander, in a change-of-command ceremony July 10 at the Armstrong Community Club on Vogelweh Housing in Kaiserslautern. Hutchison relieved Lt. Col. Mechelle Hale as the USAGK commander. Hale's next assignment is in Washington D.C. to serve with the Army Chief of Staff for Installation Management Office as the Chief of the Joint Plans Branch. Hutchison comes to the garrison from a joint assignment at North Atlantic Treaty Organization in Brussels, Belgium.Photo by Christine June, USAG Kaiserslautern.
HUNTSVILLE, Ala. -- The U.S. Army Materiel Command Equal Employment Opportunity office participated in and supported the Read Across America program at a local elementary school here, March 2.
Soldiers participating in Equal Opportunity Leadership training course at Redstone Arsenal took a break from class to step into the classrooms of University Place Elementary school to read to youngsters.
HUNTSVILLE, Ala. -- The U.S. Army Materiel Command Equal Employment Opportunity office participated in and supported the Read Across America program at a local elementary school here, March 2.
Soldiers participating in Equal Opportunity Leadership training course at Redstone Arsenal took a break from class to step into the classrooms of University Place Elementary school to read to youngsters.
HUNTSVILLE, Ala. -- The U.S. Army Materiel Command Equal Employment Opportunity office participated in and supported the Read Across America program at a local elementary school here, March 2.
Soldiers participating in Equal Opportunity Leadership training course at Redstone Arsenal took a break from class to step into the classrooms of University Place Elementary school to read to youngsters.
FORT BRAGG, N.C. (July 24, 2015) - U.S. Army Forces Command celebrated the lineage of FORSCOM that began 75 years ago with the U.S. War Department activation of the General Headquarters, U.S. Army in 1940. Through several reorganizations throughout the 1940's and 1950's, FORSCOM, as it is now known, was established in 1973. This day, the headquarters commemorated these 75 years with a day-long series of activities beginning with a staff esprit-de-corps run and culminating with the unveiling of a new sign on the building honoring General of the Army George C. Marshall, for whom the headquarters building has long been named. Maj. Gen. Jimmie Jaye Wells, FORSCOM chief of staff, led the effort for the celebration that was hosted by Lt. Gen. Patrick J. Donahue II, FORSCOM deputy commanding general. Gen. Mark A. Milley, FORSCOM commanding general, and Command Sgt. Maj. Scott C. Schroeder, FORSCOM command sergeant major, attended and officiated the unveiling of the new 'Marshall Hall' sign, the cutting of the ceremonial cake, and the unveiling of command history placards in the front foyer of the building.
Photos by: Sgt. Maj. Pleasant L. Lindsey III, Jim Hinnant, Kim Waldron, and Bob Harrison, all from FORSCOM Public Affairs.
Part of a Daily Mail WW1 War Map we recently inherited, looks to be authentic c1914 and really interesting.
'Blood Command', at 'Melkweg, The Max' Amsterdam on Monday, 18th of February 2013.
Band Members:
Silje Tombre
Sigurd Haakaas
Yngve Andersen
Sjalg Otto Unnison
Simon Oliver Økland
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The American Cancer Society's 36th Great American Smokeout occurred Nov. 17 with AMC doing its part to raise awareness. U.S. Army photo by: Doug Brewster
The 518th Sustainment Brigade says farewell to the out going commander, Col. Swanson and welcomes incoming commander, Col. Hagenbeck. Brig. Gen. Deborah L. Kotulich, commanding general, 143d Sustainment Command (Expeditionary) was the guest speaker during the chain of command ceremony in Knightdale, N.C. May 21, 2017