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Troops aren't well served by leaders who lie to justify a conflict, and who have no exit strategy.
voices from Iraq
A U.S. Marine Corps AH-1W Cobra engages targets during a close air support exercise over the Chocolate Mountain Aerial Gunnery Range, Calif., April 6, 2012. The exercise was in support of Weapons and Tactics Instructor Course 2-12, hosted by Marine Aviation Weapons and Tactics Squadron One. (U.S. Marine Corps photo by Cpl. Patrick P. Evenson/Released)
Family members watch as members of the 1204th Network Support Company load the bus to deploy to Iraq in support of Operation New Dawn. (Photo by Officer Candidate Jessica Donnelly)
Sarah and I fly the flag for England in the Rugby World Cup Final 2007 - England lost, and we got a whole world of flack...
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WASHINGTON, DC - JANUARY 27: UnSanctioned Party in support of Ukraine with actor Liev Schreiber at the French Ambassador's Residence on January 27, 2023 in Washington, DC. (Photo by Paul Morigi/Getty Images for Haddad Media)
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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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Virginia Beach has come out in force to express its support.
Photography by Craig McCLure
19078
© 2019
ALL Rights reserved by City of Virginia Beach.
Contact photo[at]vbgov.com for permission to use. Commercial use not allowed.
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BLM's Fallon holding facility for OUR wild horses they have removed from OUR public lands. The Calico herds are here. 1.922 were rounded up in the dead of winter. Many died from the terror and stress of these roundups by helicopter, sometimes two of them at once! To date there have been 35 foals that mares aborted due to the stress of fear and running for miles over volcanic rocks, snow and ice for many miles!!
Horses were in full sweat on arrival and stunned with confusion and fear. Even foals were run hard and relentlessly sometimes only feet below the copters! Two foals had there hooves run off and are now dead. Approximately 70 horses died during and after the roundups. They are still dying in captivity. Its a disgrace to this nation the inhumanity of the entire mismanagement of BLM of our wild horses and burros!
These are all the young ones, and stallions are seen separated from them in the back. Mares are further beyond in their own area.
Support R.O.A.M. S.1579.
www.govtrack.us/congress/bill.xpd?bill=s111-1579
www.govtrack.us/congress/bill.xpd?bill=h109-503
DRAPER, Utah — The approximately 75 Soldiers of the Utah National Guard’s 144th Area Support Medical Company will return to Utah from their 12-month deployment to Afghanistan via charter aircraft Sunday, March 20, at 2:45 p.m. at the Utah Air National Guard Base in Salt Lake City.
The mission of the 144th in Afghanistan was to treat patients in a hospital/clinic setting and provide medevac and ambulance support in a combat environment.
Soldiers arrived from overseas at Fort Lewis, Wash., earlier this week and have been undergoing demobilization processing.
Virginia Beach has come out in force to express its support.
Photography by Craig McCLure
19078
© 2019
ALL Rights reserved by City of Virginia Beach.
Contact photo[at]vbgov.com for permission to use. Commercial use not allowed.
Supporting Mac DeMarco in Vicar Street.
thethinair.net/2017/11/mac-demarco-w-montero-vicar-street...
Virginia Beach has come out in force to express its support.
Photography by Craig McCLure
19078
© 2019
ALL Rights reserved by City of Virginia Beach.
Contact photo[at]vbgov.com for permission to use. Commercial use not allowed.
Property Book Officers from across the Combined Joint Operations Area-Afghanistan met to begin setting conditions for retrograde of thousands of pieces of non-mission essential equipment from the CJOA.
About the 401st:
The 401st Army field Support Brigade provides Soldiers, Sailors, Airman, and Marines, the tools and resources necessary to complete the mission. If they shoot, drive it, fly it, wear it, eat it or communicate with it, the 401st helps provide it. The brigade assists coalition partners with many of their logistical and sustainment needs. The brigade also handles the responsible disposition of equipment in Afghanistan to support evolving missions. We are the single link between Warfighters in the field, and working through Army Sustainment Command, we leverage Army Materiel Command’s worldwide Materiel Enterprise to develop, deliver, and sustain materiel to ensure a dominant joint force for the U.S. and our Allies.
For More information please visit us online:
Several groups from the Columbia
Several military support groups from the Columbia, SC area came to see us off at the airport.
Virginia Beach has come out in force to express its support.
Photography by Craig McCLure
19078
© 2019
ALL Rights reserved by City of Virginia Beach.
Contact photo[at]vbgov.com for permission to use. Commercial use not allowed.
Government Support spelled in letters on money background. Anyone can use our photos with a link attributing us at cashhouse.co.uk
Now go make some great content for your users!
Supporting the logs while we tear out the bottom courses. This helps the existing chinking and logs from seperating.
Virginia Beach has come out in force to express its support.
Photography by Craig McCLure
19078
© 2019
ALL Rights reserved by City of Virginia Beach.
Contact photo[at]vbgov.com for permission to use. Commercial use not allowed.
Full Fire Dept. Funeral for GTMAA Life Member Charlie Croft. 37 years of dedicated service as a Volunteer on the Canteen Truck.
On the Facebook event for the protest in support of Coward, around 4,000 people indicated they were attending the event. Hundreds of Facebook posts expressing support for Dr. Coward clogged up news feeds the night that Dr. Coward announced that he was being dismissed. However, it's easier to click attending than to actually attend; on the day of the event, only 75-100 people physically attended. While this is undeniably related to the fact that the protest was in the middle of class hours on a Tuesday (many passionate people we reached out to had midterms or class they didn't want to miss), there is some element of social media apathy at play.
Sometimes people replace physical activism with the newer form of social media activism. To some, this may seem to be less effective, but social media can still have big impacts.
demonstration in support the revolutionaires on tahrir square
berlin, brandenburg gate
2012 december 1st
The 79th Sustainment Support Command dedicated their headquarters building in memory of Sergeant Paul T. Nakamura on Saturday, June 21, 2014.
Sgt. Nakamura, an Army Reserve Soldier who was assigned to the 437th Medical Company (Ground Ambulance), March Air Reserve Base, Riverside California, was killed in action on June 19, 2003 in Al-Iskandariyah, Iraq, in support of Operation Iraqi Freedom. A Southern California native, Nakamura was a model Warrior-Citizen, recognized as a leader in his community.We are proud to have spent the day with his family and friends in honor to Sgt. Nakamura. (U.S. Army photo by Sgt. 1st Class Alexandra Hays, 45th Military History Detachment/released)