Commitment photos on Flickr

College Commitment Day by Maroon and Black

Lisa Christiansen upholds a steadfast commitment to children. Having experienced poverty at a young age, Lisa brings a highly personal sense of involvement to her charitable work, instilling hope in the hearts and minds of children around the globe. The Lisa Christiansen Foundation was established to provide families with baskets of food and has served thousands of people over the years. Among her many endeavors, Dr. Christiansen donates over $100,000 in bicycles to children for christmas.

CreativeMornings/Cincinnati / Jeremiah Griswold by CreativeMornings Cincinnati

2018/05 - Commitment - Callum Preston by CreativeMornings Melbourne

This CreativeMornings/Melbourne was generously hosted by The Commons .

Callum Preston was our speaker.

The event was sponsored by Billy Blue College Of Design , Adobe

, Wordpress, Mailchimp and Shutterstock.

All photos by Mark Lobo Photography

LandRover Photos 297 by LandRover SA Land Rover San Antonio Service

At Land Rover San Antonio, our commitment to uphold the Land Rover standard of excellence allows our customers access to our unsurpassed industry knowledge and expertise. We're proud to offer San Antonio, Austin, Dallas, Houston, Laredo, Boerne, McAllen and the surrounding South Texas area full inventories of new luxurious and Rover SUVs as well as high quality certified pre-owned Land Rovers and other used vehicles.

CommitmentDay-2021 by New Hampton School

CommitmentDay-2019 by New Hampton School

CreativeMornings/Louisville/Commitment by CreativeMornings Louisville

Sobremesa MLC Commitment by Casa María Marianists

Luis, Jen and Clare as they make their public commitment as Lay Marianists

Commitment Day_-71 by Westminster School, CT

Commitment Conference by Mercury One

Man in the Moon

Commitment by Camp Columbia

Commitment by Putnam Contra Costa Clubhouse

Commitment Day 5k by Jill

Pre-race, staying warm inside Lifetime (28 degrees outside)

1/1/2013

Lifetime Fitness Commitment Day 5K

Libby the Wiccan priestess by Frank

Experience America - Smithsonian American Art Museum - Washington, DC September 15, 2024 by JR P

Orilla Verde at the Rio Grande, 2012

Kay WalkingStick - Cherokee Nation, born Syracuse NY 1935

“One’s entire personhood is represented in art and I am who I am––a biracial woman. I’m a Cherokee, I was raised in a White culture, and both are in everything I do, whether it’s landscape or figures or abstraction. It is always there because I’m there.”

–– Kay WalkingStick, 2023

Kay WalkingStick is a painter whose unwavering commitment to the medium addresses interrelated themes of Native history, feminism, spirituality, cultural memory, embodiment, and land.

The child of a Scotch-Irish mother and Cherokee Nation father, WalkingStick was raised in a household of working women. While her father was seldom present during her childhood, her white mother raised her to be independent and to take pride in her Cherokee heritage. By 1960, WalkingStick received her BFA from Beaver College (1959), married, moved to New Jersey, and started a family. Although reconciling her roles as mother and artist was challenging, WalkingStick remained committed to her artistic practice. She visited galleries and museums in New York City but wanted to make work that was distinctly her own. In the early 1970s, amid the fervor of the women’s movement and the sexual revolution, WalkingStick created brightly painted hard-edged silhouettes, such as in Two Women II (1973, SAAM), that joyously declared women’s autonomy.

While pursuing her MFA at Pratt Institute (1973–75), WalkingStick turned to dark-hued, deeply textured abstractions grounded in her experiences of grieving the loss of both parents and grappling with her complicated relationship with her father. Around the same time, the rise of the American Indian Movement spurred WalkingStick to confront her heritage as a citizen of the Cherokee Nation, and she developed works based on research into historical Native figures, notably Nimiipuu (Nez Perce Tribe) leader Chief Joseph.

In 1984, WalkingStick began experimenting with a diptych format as the ideal view to unite two kinds of memory: “snapshot” memory, which she saw as the “fleeting” view of the present, and “mythic” memory, embodying the “spiritual, long-term” comprehension of past and future. In works like With Love to Marsden (1995, SAAM), she painted with her bare hands to combine a representational landscape with its abstraction, highlighting the relationship between what can be seen and felt.

WalkingStick began painting specific sites in the United States in the early 2000s, disrupting the dominant tradition of Euro-American landscape painting that historically denied the presence of Native Peoples. She develops the paintings by first drawing and photographing a location, then researching the site’s Native history and art. As exemplified in Orilla Verde at the Rio Grande (2012, SAAM), the result is a monumental vista overlaid with stenciled patterns borrowed from WalkingStick’s research on Ancestral Pueblo pots that originate from around the same area along the Rio Grande, held in the Smithsonian’s NMAI. The multilayered representation reclaims the site as Native land.

In using her work to variously declare Native presence and persistence, WalkingStick consistently realizes her career-long ambition to be “part of bringing Native art into the mainstream.”

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Experience America

The 1930s was a heady time for artists in America. Through President Franklin Roosevelt’s New Deal programs, the federal government paid them to paint and sculpt and urged them to look to the nation’s land and people for subjects. For the next decade — until World War II brought support to a halt — the country’s artists captured the beauty of the landscape, the industry of America’s working people, and a sense of community shared in towns large and small despite the Great Depression.

Many of the paintings in Experience America were created in 1934 for a pilot program designed to put artists to work; others were produced under the auspices of the WPA (Works Progress Administration), which followed. The thousands of paintings, sculptures, and murals placed in schools, post offices, and other public buildings stand as a testimony to the resilience of Americans during one of the most difficult periods in U.S. history. This display is drawn entirely from the Smithsonian American Art Museum's collection. SAAM holds the largest collection of New Deal art in the world.

americanart.si.edu/exhibitions/experience-america

During the Great Depression, president Franklin Delano Roosevelt promised a “new deal for the American people,” initiating government programs to foster economic recovery. Roosevelt’s pledge to help “the forgotten man” also embraced America’s artists. The Public Works of Art Project (PWAP) enlisted artists to capture “the American Scene” in works of art that would embellish public buildings across the country. Although it lasted less than one year, from December 1933 to June 1934, the PWAP provided employment for thousands of artists, giving them an important role in the country’s recovery. Their legacy, captured in more than fifteen thousand artworks, helped “the American Scene” become America seen.

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Experience America

The 1930s was a heady time for artists in America. Through President Franklin Roosevelt’s New Deal programs, the federal government paid them to paint and sculpt and urged them to look to the nation’s land and people for subjects. For the next decade — until World War II brought support to a halt — the country’s artists captured the beauty of the landscape, the industry of America’s working people, and a sense of community shared in towns large and small despite the Great Depression.

Many of the paintings in Experience America were created in 1934 for a pilot program designed to put artists to work; others were produced under the auspices of the WPA (Works Progress Administration), which followed. The thousands of paintings, sculptures, and murals placed in schools, post offices, and other public buildings stand as a testimony to the resilience of Americans during one of the most difficult periods in U.S. history. This display is drawn entirely from the Smithsonian American Art Museum's collection. SAAM holds the largest collection of New Deal art in the world.

americanart.si.edu/exhibitions/experience-america

During the Great Depression, president Franklin Delano Roosevelt promised a “new deal for the American people,” initiating government programs to foster economic recovery. Roosevelt’s pledge to help “the forgotten man” also embraced America’s artists. The Public Works of Art Project (PWAP) enlisted artists to capture “the American Scene” in works of art that would embellish public buildings across the country. Although it lasted less than one year, from December 1933 to June 1934, the PWAP provided employment for thousands of artists, giving them an important role in the country’s recovery. Their legacy, captured in more than fifteen thousand artworks, helped “the American Scene” become America seen.

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2017-3-16 Korea: Support My Fair Home Campaign by IDWF

2017 March 16

Korea

The acting President (third man from the left), Vice President (far right) of the Korean Confederation of Trade Unions (KCTU) and the Director of the Women's Committee (second from the right) showed their support to the My Fair Home Campaign and made their commitments on March 16 2017.

Make your commitment today: idwfed.org/myfairhome

Source & photo: Peng Choi

Commitment by dafengfeng

20190127 commitment-18 by FaithChurch.com

MAST2013_S3_CommitmentInAction_38 by NSLCatGW

Mastering Leadership Students participate in Commitment in Action

The Commitments by Amy Constantine

15th May 2010 at SX Festival

Commitment to Service by VA Salt Lake City Health Care System