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Imperial War Museum Collections Online Database

Imperial War Museum Collections Online Database
IWM’s collections cover all aspects of twentieth and twenty-first century conflict involving Britain, the Commonwealth and other former empire countries. They were intended to record the 'toil and sacrifice' of every individual affected by war. Our collections stretch from the everyday to the exceptional. Alongside the material that has been commissioned or created for official or military purposes are the personal responses to eye-witnessed events and the tokens that ordinary people have given to IWM so that their experience of war, or that of their family, can be passed on to future generations. The Museum’s own administrative records, dating from our foundation in 1917 are held by the Museum Archive. IWM supports and encourages research into our collections and they are open to the public. Related:  Dad's Warfeminism

Mozilla Firefox See SDSU Grad Jim Pollock sketches War In Vietnam| Contents |War Art Samples | Official US Army Documents | News Articles | James Pollock Non War Art In June of 1966 the U.S. Army Vietnam Combat Art Program was established, utilizing teams of soldier artists to make pictorial records and interpretations for the annals of army military history. Typically, each team consisted of five soldier artists who spent 60 days of temporary duty (TDY) in Vietnam traveling with various units, gathering information and making sketches of U.S. Army related activities. From August 1966 through 1970 the US Army sent teams of artists into Vietnam to record their experiences as soldier artists. A short history and overview of the U.S. James Pollock's home state was and still is South Dakota. If you were a member of one the U.S. James Pollock non war art main page WWW contact for Jim Pollock Art is Vietnam Combat Art Home Page Painting and Drawings--James Pollock Team IV U.

Wartime diary: Corporal Jim Marsh 1681892 Wartime diary: Corporal Jim Marsh 1681892 We left RAF Station Wilmslow on Monday November 9 1942 and marched with full kit to Wilmslow railway station. Many of the locals gave us a send off plenty of beer was given to us and the RAF played sentimental tunes as we waited for the train. Eventually we boarded the troop train bound for Liverpool Docks, eight servicemen were allocated to a compartment and locked in. It was a sad journey for me in the sense that the train travelled via Skelton Junction over the Bridgewater canal at Broadheath and past Salisbury Road playing fields and the house where I was born, 5 Balfour Road and I remembered as we passed how I spent Saturday afternoon with my father and mother. The train pulled alongside our troopship Orion which was to be our home for the next two weeks. As we set sail up the Mersey we wondered whether we would see our wonderful country again and our loved ones back home. Wednesday November 25: Storm still raging. Volunteered for Guard Duty.

Interference Archive | Documents from the Greenham Common Women’s Peace Camp December 5, 2014 – March 1, 2015Opening: December 5, 2014 Greenham Common Women’s Peace Camp was a 19-year anti-nuclear protest and encampment at the U.S. Military Base at Greenham Common, Berkshire County, England. This exhibition and event series, organized as a mother/daughter collaboration between Susan Jahoda and Emma Jahoda-Brown, assembles accounts of the comings and goings and daily lives of a diverse group of women at Greenham primarily over a nine year period. Photographs, film, artifacts and sound are brought together to reveal a complex view of a largely invisible history. This project honors the visual work of Susan Kleckner and the extraordinary women of Greenham Common who transformed a space — otherwise claimed for militarism and colonialism – into a place of protest, agency, and exploration of feminist politics. Organized by Susan Jahoda and Emma Jahoda-Brown, with contributions by Rachel Mattson and Blithe Riley.

The Propaganda War Propaganda was not unique to the Korean War, but the of propaganda use was brought to a new level in Korea. Most leaflets were dropped from aircraft as one leaflet below illustrates. They were printed on low quality paper in one or two colors. Most leaflet were directed at the enemy, but as the last one on this page illustrates, some were used to thank and encourage the UN troops for a job well done. Imagine being cold, tired, demoralized and far from home. Even without a translation, the message is clear on this leaflet. The leaflet above reads:"All (of us -meaning the Chinese) are getting wounded and hurt and we don't have proper medical facilities." Left:"Everyone is in trouble because of this disaster. Ray Jones a former MP at Panmunjom in 1969-70 graciously offered to translate these propaganda leaflets for me. This leaflet reads: "The UN troops treat them good." This leaflet reads:(1) I happened to hear a couple of soldiers talking. This is a Safe Conduct Pass. | PFC GEORGE E.

War artist A war artist depicts some aspect of war through art. The art might be a pictorial record, or it might commemorate how war shapes lives. War artists explore the visual and sensory dimensions of war, often absent in written histories or other accounts of warfare.[2] Definition and context[edit] A war artist creates a visual account of the impact of war by showing how men and women are waiting, preparing, fighting, suffering, celebrating,[3] or destroyed, as in Vasily Vereshchagin's 1871 painting, The Apotheosis of War. The works produced by war artists illustrate and record many aspects of war and the individual's experience of war, whether allied or enemy, service or civilian, military or political, social or cultural. Artists record military activities in ways that cameras and the written word cannot. Official war artists have been appointed by governments for information or propaganda purposes and to record events on the battlefield,[7] but there are many other types of war artists.

St. Bees Head Chain-Home RADAR Station PHOTOGRAPHS: David Parkin, Heysham FURTHER INFORMATION: Jeff, contributor to uk.rec.subterranea NG St Bees RADAR station - No. 87A ,'Chain Home Low' - was built at the Lighthouse in 1941, going off-air for the last time at 23:00 hours on 4th February 1944, after which RADAR coverage for the area was handled by the Hawcoats site near Barrow-in-Furness. Manned 24 hours a day by the RAF, St. The station at St Bees consisted of a combined transmitter-receiver block (the remains of which are capped by a modern agricultural shed-roof in the above photograph), a 20' high gantry carrying the 1.5metre wavelength (200MHz) aerial array (which stood on the other side of the T/R building shown above), a stand-by set house, and various ancillary buildings. Older CHL sites had twin gantries and seperate transmitter and receiver buildings. The graphic (left) is derived from Air Ministry drawing 60G/87A/2 created on 15th September 1942. Home | Contents | Workington | Links | E-Mail

CALL OUT: take action this weekend with Sisters Uncut This is a guest blog by Lucy, a Sisters Uncut and UK Uncut activist. Sisters uncut’s next action is on Saturday 28th November at midday, Soho Square Just over a year a go a group of angry women activists from UK Uncut decided that enough was enough. We worked in the domestic violence sector, we were survivors, we were women who felt backed in to a corner by a brutal state that was slowly taking away our safety net. UK Uncut and the people within it gave us the skills and knowledge to realise that sisters could do it for themselves. That first meeting seems so far away from now. What a year it’s been, from four women eating beige food and drinking tizer in a living room in Stratford to over a hundred folk regularly attending meetings. UK Uncut always reminded us that austerity was a political choice. Since austerity began over 30 specialist services have closed and the major funding cuts have been to BME and specialist services. And austerity continues unabated. And you can join us.

Trench Art: An Illustrated History, by Jane Kimball