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The Vietnam Combat Art Program was created in 1966 as a way to create a record of the war as seen through soldiers’ eyes (a similar program existed in WWII). Applications were solicited from soldiers through the U.S. Army Arts and Crafts Program, a separate program originally set up to boost morale in the mobilization leading up to WWII. But unlike the Arts and Crafts Program, which decorated barracks, hosted art classes and sought to fill the long periods of downtime of a life at war, this new Combat Art Program dedicated artist teams to observe and depict the war in Vietnam.

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The Vietnam War was a long, costly and divisive conflict that pitted the communist government of North Vietnam against South Vietnam and its principal ally, the United States. The conflict was intensified by the ongoing Cold War between the United States and the Soviet Union. More than 3 million people (including over 58,000 Americans) were killed in the Vietnam War, and more than half of the dead were Vietnamese civilians. Opposition to the war in the United States bitterly divided Americans, even after President Richard Nixon signed the Paris Peace Accords and ordered the withdrawal of U.S. forces in 1973. Communist forces ended the war by seizing control of South Vietnam in 1975, and the country was unified as the Socialist Republic of Vietnam the following year.

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Viet Nam / Aztlan-Malaquias Montoya, 1973.                                 Ana Ramirez     

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Viet Nam / Aztlan-Malaquias Montoya, 1973.                                 Ana Ramirez     

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Montoya’s activist artmaking began in the context of the California farm workers’ movement but soon referenced the full cultural and political dimensions of the fight for Chicano civil rights. His iconic Viet Nam/​Aztlan reveals the links among the antiwar, anticolonial, and civil rights movements. Its design equates Vietnam with Aztlán, the mythic Chicano homeland said to be located in the southwestern United States, identifying Chicanos as a conquered and occupied people. In the middle, a Vietnamese soldier and a Chicano man merge together. At bottom, beneath yellow and brown clenched fists, is the Spanish word Fuera, meaning ​“get out.”

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“Wounded” – Robert C. Knight, 1966    Sarai Lopez

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“Wounded” – Robert C. Knight, 1966    Sarai Lopez

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In a departure from the army’s caginess towards news media coverage of the war, the program sought out artists looking to depict scenes in Vietnam that were both honest and compelling. In the U.S. Army’s announcement of the program, it called for “competent artist-illustrators who have a sound foundation in life drawing, composition and color. They must be able to record military events and experiences pictorially and with strong emotional impact.” The teams were to spend 60 days traveling through Vietnam, following units on patrol while making sketches and doing preliminary research. The teams would later finish their work during a 75-day stay in Hawaii.

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“Swamp Patrol” – Roger Blum, 1966- Yessica arevalo

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“Swamp Patrol” – Roger Blum, 1966- Yessica arevalo

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The Vietnam Combat Art Program was created in 1966 as a way to create a record of the war as seen through soldiers’ eyes. a similar program had already existed in WWII. Applications were solicited from soldiers through the U.S. Army Arts and Crafts Program.But unlike the Arts and Crafts Program, which decorated barracks, hosted art classes and sought to fill the long periods of downtime of a life at war, this new Combat Art Program dedicated artist teams to observe and depict the war in Vietnam.

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The Vietnam War was the first American war broadcast on TV, something that profoundly changed the way we see expeditionary warfare. For the first time ever, Americans at home saw young men crawling through dense jungles thousands of miles away. And it wasn’t like the newsreel footage of the ’40s, scrubbed clean and careful to show the good guys fighting the good fight. The news coverage in Vietnam showed young American men out on patrol in a strange, foreign land in what was a bitterly controversial war back at home. But less well-known are the paintings created by dedicated teams of army painters tasked with depicting the war in Vietnam as they saw it, with unlimited creative license and no travel restrictions.

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“Killed In Action” – Burdell Moody, 1967  Daniel Pedraza

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“Killed In Action” – Burdell Moody, 1967  Daniel Pedraza

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The army assembled nine Combat Artist Teams (CATs) from 1966-1970. Each team consisted of about 5 artists who were given the freedom to travel wherever they wished in Vietnam. “We had open Category Z Air and Military Travel orders, which meant we could hitch a ride anywhere in Vietnam. It was a letter-sized sheet of paper with written and signed orders,” explained James Pollack, who was a member of CAT IV, which operated in late 1967. “We usually just walked up to a pilot or someone in charge and flashed the orders. We guarded these papers closely – if we lost them it would have been difficult trying to explain why we were hitchhiking around Vietnam.” Pollack described his experiences in the Vietnam Combat Art Program in an essay published in 2009 in War, Literature Arts: An International Journal of Humanities.

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"Unreal Realities"-Ronald A. Wilson 1967 -Dolores G.

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"Unreal Realities"-Ronald A. Wilson 1967 -Dolores G.

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The  idea of rotating teams of young soldier-artists from a variety  of  backgrounds and experiences through Vietnam was innovative. What was even more remarkable is that these soldier-artists were  encouraged to freely express and interpret their individual experience  in  their own distinct styles. The artists responded enthusiastically to  their artistic free reign, and the resulting products were wide-ranging and comprehensive.

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Korean troops encounter terrified villagers sheltering from their helicopter assault in Bong Son, Vietnam, in June of 1966 About 8,000 Marines—including four infantry battalions, an artillery battalion, and the First Marine Aircraft Wing—and 3,000 South Vietnamese
South Korea sent 320,000 troops, billing them as “anti-Communist crusaders.” In return for its contribution, it won American aid that helped build the national economy. But rumors have long persisted that South Korean troops committed mass killings of Vietnamese civiliansFrom September 1964 to March 1973, South Korea sent some 350,000 troops to South Vietnam. The South Korean Army, Marine Corps, Navy, and Air Force all participated as an ally of the United States.

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The Vietnam Combat Art Program was created in 1966 as a way to create a record of the war as seen through soldiers’ eyes (a similar program existed in WWII). Applications were solicited from soldiers through the U.S. Army Arts and Crafts Program, a separate program originally set up to boost morale in the mobilization leading up to WWII. But unlike the Arts and Crafts Program, which decorated barracks, hosted art classes and sought to fill the long periods of downtime of a life at war, this new Combat Art Program dedicated artist teams to observe and depict the war in Vietnam.

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this painting is what happened during the war. In 1965, as the Vietnam War escalated overseas amid civil unrest at home, abstract artists as accomplished as philip Guston wondered whether they were doing the right thing. “What kind of man am I,” he wondered, “sitting at home, reading magazines, going into a frustrated fury about everything and then going into my
studio to adjust a red to a blue?” Brandon B.

Vietnam pushed him into a more direct commentary on the world—and a sudden shift toward representational, though often cartoonish, satirical attacks on hate groups and elected officials.

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“Looking Down the Trail” – James Pollack, 1967

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“Looking Down the Trail” – James Pollack, 1967

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This work of art was made by James Pollack in 1967. It shows soldiers wading chest high through a jungle swamp. He said ''When I got out of the water, the other soldiers said I had to take off my boots and look myself over. My legs were covered with leeches.'' This painting was best known from the watercolor. This was when he went to Vietnam in 1967 as a member of U.S. Army Vietnam Combat Art Team VI. - Yasmin Martinez

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Ines Vergara- "Kill for peace" by Carol Summers, 1967

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Ines Vergara- "Kill for peace" by Carol Summers, 1967

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This painting was made in 1967 by Carol Summers, Carol was born on August 1, 1909 and died when she was 91 years old and died on Nov, 6, 1996. Summers lived in Kingston, NY and she moved to Santa Cruz, Ca.
Summers is an American artist.
Summers, artists, and painters wanted to protest against the Vietnam War and Summers wanted to express that in his paintings, a popular song by The Fugs, was made in 1966, that also expresses anti-Vietnam War sentiments. In the song it said "Kill, kill, kill for peace. Kill, kill, kill for peace" and he got an idea to call it "Kill for peace". In painting the holes in the paper stand for bullet holes, the “X” indicates that Vietnamese women and children have become the war as primary targets.
In this painting, I noticed a family that is scared after the war and i see holes on the canvas that stand for bullet holes and the big red X in the center.

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The last stand was created during 1976.The person who made this art work was Phillip W.Jones.He made this work which he thought would help people see how the war was actually because it would help people understand more in a way.In the art work it shows how some people or soldiers were still alive and the war was about to end soon.However the War did end up lasting a good amount of time.Not all the soldiers made it.The art was a really good plus creative way to show a certain thing like an event that happened in a particular time or date.The war made this art creators express many things in the arts they created.

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This painting was made by Joe Kline he made this painting back in the 1900s. Joe Kline was born in Washington, D.C. in 1949, and has lived in California since 1961.  His artistic specialty for the past 40 years has been painting military aircraft in a technically and historically correct context. He painted this because he illustrates the kind of service he performed many times while serving in the U.S. Army during the Vietnam War. The painting’s title is ‘Dust off, that others may live.’ Farley served as a helicopter crew chief and medic during the war. He was awarded a bronze star. I chose this painting because it stood out to me and I wanted to learn more about this painting I really like how the painting came out.

In this picture, I noticed a military with a gun in his hand and holding it up to the helicopter. I think it's a sign that he's trying to get help from the helicopter or either not trying to get hurt by it. I also noticed two militaries on the ground trying to help the other one out.

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Abner - After the Battle Tan Hep, Vietnam By Michael R. Crook, 1967.

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Abner - After the Battle Tan Hep, Vietnam By Michael R. Crook, 1967.

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In this Art piece it shows a solder sitting down smoking a cigarette.As he looks like he has seen something and gave up.This art piece was made in 1967.(No information about it)

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this guy looks like hes looking for people to kill so he dosnt die.he has alot of stuff in his backpack because you could tell it looks full. In the background it looks like there burning down the forest. the guy has a spoon on his hat. there is also a big river behind him.

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This art piece was created by Carolee Schneemann, Born October 12,1939. She was an american visual experimental artist, known for her multi-media works on the body, narrative, sexuality and gender. A prime mover of performance art, a feminist visionary and one of the most influential artists of the late 20th century.

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in this picture it shows some people on a boat confused why there is a lot of helicopters going towards them it also looks like the day is almost over so maybe it is a surprise attack and I feel like the people on the boat are going to their family to make sure they are safe and they don't get hurt because the war was horrible and it was not good because a lot of people died and there are tree's as well so maybe soldiers are already hiding in the tree's.

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“Swamp Patrol” was painted by Roger Blum showing how the war in Vietnam was seen through soldiers point of view, to me this kinda represents the fear and the braveness some soldiers had at the time to represent their country, and i choose this painting because of the all greens i get to see, it gives it a vibe of hope since it looks like light is coming which gives off this vibe even knowing this ends with a lot of dead people

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In June the Army Vietnam Combat Artists programme was established as part of the United States Army Art programme. From August 1966 through to 1970, the U.S. Army sent teams of artists into Vietnam to record their experiences as soldier artists.

In Vietnam, art was also utilised as a propaganda tool to enlist mass support for the war. In the North the Hanoi College of Fine Arts, which was founded by the French in 1925 during the period of colonial rule, played a vital role in training artists during the Vietnam War, while in the South, from 1961 unofficial art classes began in the Resistance or “liberated” areas controlled by the National Liberation Front (NLF) or the Việt Cộng in the Mekong Delta.  From June 1962 patriotic artists from the North volunteered to go to the South to train fellow artists in the liberated zones. From 1964, official art classes started at NLF headquarters

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"Killed In Action" - Burdell Moody, 1967 Ismael Ortiz

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"Killed In Action" - Burdell Moody, 1967 Ismael Ortiz

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This art shows soldiers carrying a soldier who was killed in action meaning they were killed as they were fighting in the war at Vietnam. They made this art because there were nine Combat artist teams that the army assembled. Each team consisted of 5 artist two show people what is was like for people in the war and to show a representation that people die in war and that not everyone lives. It would be hard for people to carry their dead friends out of the battle field knowing they would never see them again. This would help them appreciate people more and not take things for granted.

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Last Stand” – Phillip W. Jones, 1967-68  (Israel Garcia)

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Last Stand” – Phillip W. Jones, 1967-68  (Israel Garcia)

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This work of art was made in 1967. He made this art because according to what I read he was in the war era. He saw everything that happened in the war. He made this art because he wanted other people to see what the war was like. They were almost the last people still alive in the war during that time. The war was almost over.

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In 1995 Vietnam released its official estimate of the number of people killed during the Vietnam War: as many as 2,000,000 civilians on both sides and some 1,100,000 North Vietnamese and Viet Cong fighters.For some of the families, the coffin remained in the family home for three days, and relatives, in-laws, neighbors, and colleagues of aunt, uncle, and cousins came and paid their respects. Money, flowers, and wreaths were donated according to the guest’s ability and closeness to the family. Food and drinks were served to all as they came. Most stayed at least long enough to say their condolences and chat. Close friends and relatives spent hours or days with the family, helping to cook, organize, direct the flow of visitors, or just chat about good and bad times, about uncle, and about each other.

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This painting was created by Malaquías Montoya in 1973 Montoya’s activism was shaped by his exposure to the Chicano movement which incorporated ideals of resistance and cultural affirmation. This movement had an emphasis on civil rights for Mexican Americans and raising political, economic, and social consciousness.This image expresses his feeling of wanting to stop the war and for everything to end.

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The latest Brothers in Arms” by Dan Nance.  Joe Kline. 

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The latest Brothers in Arms” by Dan Nance.  Joe Kline. 

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This painting shows a soldier helping another soldier. 9. 176th Assault Helicopter Company – Muskets. ` 10. 75th Ranger Company extracting from jungle
The latest Brothers in Arms” by Dan Nance.  Joe Kline.
I picked this paint because it shows how the soldiers never let anyone that is a member of the team, even more where they are brothers.
( Jose Quijada)

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Philip Jones Griffiths Magnum-12 December 2015. Angel z

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Philip Jones Griffiths Magnum-12 December 2015. Angel z

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this art was created by Philip Jones Griffiths on 12,December,2015
I see that Philip is  with her daughter
He is credited with helping to end the war through the publication of his powerful images of the conflict
I think his dream was to have a farm
halfway up Snow don.
Philip Jones Griffiths say they are "extremely satisfied" that his archive will be permanently housed at the National Library of Wales.
I choose this person because I was so interesting in the picture with the little daughter
Angel z

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After the war, he rarely spoke about his time in Vietnam. Instead he draw and got his inspiration from protest posters. He represents a face crying, screaming, moaning. The words below translate to "Get out of Indochina!" For T.C. Cannon, being a Native American veteran, came up with his own set of contradictions. The patterns of colonialism, violence, and subjugation used by the US in Southeast Asia were very similar to those used against its own community. Perhaps this became one more reason to make art about war, to remind others of what we must not repeat.