he had goblets made of silver to award the winning competitors. agriculture in corpus christi brought many wealthy families to the area that helped bring success through the ages. corpus christi has subsisted mostly on agriculture based in sheep, cotton, and cattle. king ranch subsists mostly of cattle. they have the running w brand. he sent -- he fenced his land in barbed wire. that stopped transporting of any goods through his land without his control. since he controlled who was on his land, he also controlled the cotton that could be smelled around the union blockade and eventually sold to mexico since they could not get it out of the ports in corpus christi to sell for profit. king ranch has been one of the prominent wrenches in the area. they own most of the land between here and mexico which control the lot of the commerce happening during the mid to late 1800s, before the railroads came into town. after the civil war, with all the ranch money being made by king, entity and others, those men worked with other investors to bring railroads to the area. this opened doors for many tourists to come to the area and take part in the beach and fishing and many things that people enjoy today. fdr visited corpus christi to go fishing with his son. when the port of corporis -- of corpus christi it opened a lot of economic doors for corpus christi and this entire area. on display here, we have a doodlebug, a retrofitted ford model a. during the depression era, it was for bit into by new tractors. the building of the port of corpus christi brought thousands of jobs to the area and encouraged further industrialization to advance corpus christi into the modern age. with world war ii already raging in europe, the united states realized they could not quickly train pilots to accommodate a u.s. entry into world war ii unless they built additional naval air stations. in may 1941, naval station corpus christi open to train pilots. little did they know that only that december they would need to really quickly train pilots when pearl harbor happened. the weather in corpus christi is so mild that pilot turning can happen almost year-round. metal is something that was really important when we were building such big things like ships and planes and all the things we needed to fight world war ii. so the citizens of corpus christi sacrificed what used to be there fire bell which would alert the volunteer fire crew of a fire in town to the war effort. it is the ship bell for the uss houston. the uss houston was commissioned in 1943 and served as part of the pacific fleet. she took heart in many amphibious landings during the battles of world war ii. we help visitors come away with an appreciation of the draws and tribulations that people came through. we share moments -- we share some of the most inspirational ones here. >> throughout the weekend c-span 3 is featuring corpus christi, texas. learn more on c-span's cities to her at c-span.org/localcontent. >> a lecture focusing on how our therapy was used to help world war veterans deal with the trauma of the war. this program is about an hour. >> this lecture is a culmination of my research here at the library of congress digging into world war i related collection that highlight the responses of artists and veterans impacted by the traumas of the first world war and by the ways in which plastic surgery, mask-making, and occupational therapy were used to help the war wounded worldwide. while is timely to focus in world war i, we are in the centurion years of the great war. this is part of a larger community-based initiative of using the arts to address trauma. particularly war trauma. multiple current day veterans arts initiatives give life to this historical record. there have been numerous art exhibit shows countless writing and art making workshops theater, dance, and music performances documentary films and art festivals and symposiums all dedicated to veterans and their effects by war. the veteran artist communities with which i have had the privilege and honor to work and no have -- and know have been in inspection for this research as have been the dedicated health practitioners who work today with today's war wounded. at the library of congress, my research has been enriched by collections in the veterans history project, prints and photographs division and the general collections. a 2014 national endowment for the humanities summer institute at the university of cincinnati world war i in the arts sound vision and psyche, has also informed this project. i have deeply appreciated the congeniality of the scholar community in the clue be center here at the library and and sincerely grateful to the centers dedicated personnel that helped make our work possible. thank you, jane, mary lu, jason my summer intern peter flint and kluge fellow david mclachlan who is helping with this presentation today. i also thank patrick sergeant pam stewart, mike fay, chante noris, and o'donnell, peggy and brown, and mark leverage for their encouragement, support and contribution to this research. this research project began with the artwork of contemporary veterans. in 2010, i was introduced to artists working with combat paper projects, a veterans arts initiative that offered paper making workshops for veterans and for a time also interrupted civilians. military uniforms are shredded come pulped, and made into paper . participants use the paper to create artwork. the transformative nature of the paper-making process provides communal opportunities for veterans to share stories of their military lives and to work at making sense of their war experiences. founded in 2007, combat paper offered workshops throughout the country from 2008 to 2012. since then the phenomena of paper making for veteran populations has absolutely exploded. many different groups are now offering paper-making in v.a. hospitals, military hospitals such as walter reed and fort belfour, and libraries and universities across the country. jesse albrecht participated in his first combat paper project workshop in iowa in 2010. an iraq war veteran and university trained ceramics sculptor, he had served in iraq in 2003 and 2004 as an army medic with the iowa national guard. his unit was stationed in mozilla -- in mozul. the chaos, brutality, and ambiguity of the war were unnerving for albrecht. six years later, when he took part in the iowa combat paper project workshop, he was still actively dealing with memories of his time in combat. albrecht uses his arts training to both address the traumas of his own war experiences and to explore the culture of war and the military. there's year in mozu -- his year in mozul and saddam hussein's dictatorship got under jesse's skin. art making became one of the ways he discharged -- he missed -- he displays the discharge of his military experience. many pieces are kitschy images of saddam hussein, portraits of himself, and ironic messages to the tyrant. the ceramic pots included here incorporate other war memories. they depict images of archaeological antiquities found in the ancient biblical city of nineveh, just across the tigris river from mozul. albrecht's determination to create an art practice that investigates the traumas of war is part -- is in part a result of the war story he heard from relatives while growing up. three generations of his family served in four different wars. world war i, world war ii, vietnam, and iraq. his great uncle, ever do moss was gassed while serving during the first world war. and afterwards was nearly always drunk. such stories motivate albrecht and inform the messages conveyed in his artwork about war. the war that traumatized jesse's great uncle and cause him to turn to drink to blunt his memories of the horrors and devastation was the world's first truly modern war. the united states joined the fray on april 7, 1917, and the use of tanks, aircraft, heavy artillery and poison gas coupled with intense trench warfare took its physical and psychological toll on those who served. 16 million lives were lost and a further 21 million were injured. during and after the war veterans and civilians alike turned to the arts, visual, literary, music, theater, film and dance, to document the devastation. diaries and the collections of the libraries veteran history logic in the smithsonian archive of american art give voice and light to the expenses of those who served in the war. florence pippen, a highly regarded african-american artist after the war was a kernel with the 15th new york infantry, the legendary three 69th colored infantry regiment of the u.s. army guard division. soldiers that called themselves the harlem rattlers caught by a sniper's bullet just weeks before the armistice. as a disabled veteran of color pippen not only survived the trauma and his war experiences but also the traumas of racism. eight texas farm boy of german dissent, kelly from jan's was a first-class private during the first world war. while serving in france, he found a nearly unused german ledger book and, in spite of his lack of formal education, he decided to record his experiences. his diary captured the chaos of the infantry man's life during wartime. at six foot four and a half, elliot hughes lee, a princeton graduate, exceeded the maximum height for officers candidate school by half an inch. [laughter] he was advised to join the u.s. army ambulance corps with units departing for france and attached to the french army. with the rank of first lieutenant lee worked at the front of the second bottle of the noir and on july 1918 and was later awarded three -- by the french government. net named boy during his time in the service he grew up in a german-american family in wisconsin, a corporal in the fifth wisconsin regiment, he survived a brutal bayonet attack . his diary records his dramatic combat experiences, as well as his recoveries in france and the united states. to the accompaniment of the pno concerto for the left-hand i will read short excerpts from these diaries. the music by ravel was commissioned by the pianist paul wittgenstein. following the war, he commissioned new pno concerto -- piano concerti for the left hand only. the music and diary entries are further complemented by a set of photographs taken at the warfront and paintings drawings, and sketches by artists, both veterans and civilians who recorded artistically the devastations of the war. i have been captivated by the artwork of clagett wilson, a set designer and interior decorator who served in the marines during the first world war. wilson created breathtaking images with evocative titles, and some of his work is peppered throughout this section of the presentation. wilson, like jesse l brecht's great uncle, was gassed during the war. from horace pippin's diary, i remember the day very well that we left the good old usa. although she were in trouble with germany and to do our duty to her, we had to go and travel there. we did on the 17th of november 1917. it was the 15th new york inft, and it were 14 days that we saw the french harbor. we were all glad to get off that ship and put foot on land again. we were camp one, december to february and in that time, we laid the railroad from the ocean so that the u.s. could get her cargo off in good time. we laid about 500 miles of rail in that time, and we went to bed in the dark and got out in the dark. although our next moves or to the trenches, we did not care -- were to the trenches, we did not care. it were a place we all wanted to see. time came for us to pack up and go to a little town that were torn up bad. the french did it to the germans out in 1915, and in that time, they gained galore, and no more. from hilly john francis' diary we had a real air battle as we heard that three american planes had slipped in and were booming the stronghold of the german supply lines when the germs' planes came in on them, and the dogfight was on. two german planes were downed, and the american planes took off for home. as they were passing over german lines, a squadron of planes nearly caught them, and here, a real air battle took place. the sky was full of smoke from machine gun fire. one of the american planes was hit and caught on fire and was turning over and over within about 1000 feet of the ground. a man jumped out, and he was caught on fire. he was saved on our side of the line. he was picked up, badly burned, and died the next day. he had some important information and pictures of german rail line moving supplies. the other two planes were saved back across our lines. from elliott you -- hugh lee's diary, to acquaint ourselves with duties, i went as an extra man on an ambulance to each post at which loads were picked up, spending the night in dugouts. it was a bitter cold winter, and there were usually small stoves in the dugout, but wood was scarce and always wet. we were stationed in half-underground dugouts in a village undamaged by shell fire, from which cars went daily to the various coasts. stretcher bearers brought the wounded and sick to doctors at the post and we took them to a central sorting station where selection was made as to which hospital they would go. ours or other ambulances would take them there. from the first pick up to the triage was usually no more than two miles on roads often shelled. from grid cell -- griselle's diary, stumbling drunkenly, i fell to the ground trying to cross the parapet in front of our trench. even before i could cry out for help, the lookouts in our trench had alerted the others who had laid down a covering fire. two of our boys crawled partially out of the trench, grabbed me by the blouse, and pulled me into the trench. the first men were also the stretcher bearers and had used all of their first aid bandages trying to cover my wound. i was placed on a stretcher carried -- covered with a blanket and started on my way to the battalion first aid station. from the woods to the church was only a short distance. i was carried through a shell hole in the wall into the basement of the church. when it came my turn, the doctor asked, where is your wound?i replied, in the neck and i can't use my arms. i was helped to a sitting position and held there while the bandages were removed. someone gave a low whistle. i was given a shot of anti-technics in the belly, and a cross was painted on my four head with iodine. -- forehead with iodine. just before i was carried out, the doctor said to me, we have done all we can for you here and are sending you back to a field hospital for surgery. american field hospital number 12 was a tent hospital, but the x-ray equipment did not work, so out into another ambulance i went with orders to the driver to get me to the nearest hospital. it was a french hospital, number 37 staffed by french doctors nurses, and orderlies. all of the patients were french soldiers until i arrived. the doctor who had operated on me came over to see how i was doing. with the little french i knew and the little english he knew, he made me understand that i would get well. as the madness of war came to an and, renewal and restoration became the new agenda. carry-on was the peacetime message that provided hope and resolution for the war-wounded. four different plans of action that were put into action -- into motion after the war made it possible for the war-wounded to move on in life. through plastic surgery, mask-making, occupation, and physical therapy creative and artistic expression intersected with medicine and economics. one of the first lines of defense was caring for the many men whose faces were mutilated by gunshot blasts and shrapnel. initially trained as a surgeon and later as an artist, henry talks was in his 50's when the war broke out. a temporary commission as a lieutenant in the medical corps brought him into contact with pioneering plastic surgeon harold gillies who asked him to make drawings of patients before and after surgery. tonks accepted and wrote a colleague -- it is a chamber of horrors, but i am quite content to draw them as it is excellent practice. gillies became interested in plastic surgery in the face after durham -- joining the royal army medical corps in 1915. he treated 2000 cases of jaw and facial mutilation. gillies moved to queens hospital in 1917, and there he performed more than 11,000 plastic surgeries of the face on over 5000 men mostly soldiers with facial injuries from gunshot wounds. aesthetics mattered to gillies. he did the best he could to make his patients look as similar as possible as to how they appeared before their injuries. the surgery performed on lieutenant williams frankly who have lost -- william strictly who had lost his entire nose was so successful, dr. gillies noted it. francis to rent wood, a british sculptor, also joined the royal army medical corps in 1915. his proposal to make sculpted masks for severely disfigured servicemen was excepted, and the masks for facial disfigurement department opened in the third london general hospital in 1916. known as the 10 noses -- tin noses shop wood was clear that his work began after the work of the surgeon was complete. his contribution was that of an artist. he noted, i endeavor by means of the skill i happen to possess as a sculptor to make a man's face as near as possible to what it looked like before he was wounded. working from prewar photographs wood meticulously created the features of the wounded designing a copper mask 1/32 of an inch in thickness. a purpose of the mask was to lessen social isolation. wood noted, the patient acquires his old self respect, self-assurance, self-reliance. influenced by the work of francis durent wood, americans sculptor anna coleman ladd opened up a studio in paris in late 1917. for the next year and a half she directed the making of about 100 cosmetic copper masks that were worn by men badly disfigured during the war. in a report from the studio written in 1919, the author noted that people adjusted to seeing men with arms and legs missing. they never got used to an abnormal face. one of the patients was a man who had been wounded two and a half years before in 1916 and had never been home since then, as he did not want his mother to see how badly he looked. the masks made it possible for the men to go on with their lives. while the work of gillies woo d, and ladd restored a modicum of self-respect, there was still a great work -- great deal of work to do to help disabled veterans. as the red cross poster demonstrates, the number of war wounded continued to grow after the war. two significant entities played important roles in the care and restoration of the war-wounded the military and government and red cross. the work included occupational therapy, physical therapy, and vocational training. the plucky woman who took up the pioneering work of a reconstruction aid embraced in arts and -- an arts and crafts movement was in tune with the late 19th and early 20th century advancements in mental and physical health and supported social reform. reconstruction aid were divided into two types of workers occupational therapists provided therapeutic, economic, and divergent activities for patients, and physical therapists who used specially designed exercises and equipment to help patients reduce pain and improve or restore physical mobility. both types of reconstruction aides were employed at the war front. the first reconstruction aides to provide service in france during the war went to base hospital number 117 where they worked with physically sound men suffering from warner process -- war neurosis, helping them returned to duty as quickly as possible. the success of this first group of workers resulted in a call for 1000 of these aids as soon as you can get them ready. lena hitchcock was one of the reconstruction aides to respond to the call, working at the base hospital number nine where she provided occupational therapy instruction. she is included in these slides. an example of the type of work applied by convalescent soldiers in a war front hospital is this beautiful cross stitch tea set depicting french, british, and american soldiers, given to actress and singer marian abbott who traveled to france during the war to entertain the wounded. the gift came from the soldiers in grateful appreciation for her service. occupational therapy work was originally divided into two curative levels -- the first bedside occupations such as knitting and basket weaving, primarily regarded as a divergent activity, and the second, a more purposeful form of training intended to prepare a soldier for employment after his discharge from the hospital. in 1917, the red cross opened the headquarters of the institute for crippled and disabled men in new york city. during the war years, the red cross dealt on a massive scale with the needs of the disabled. consider the first specialized trade school in the country to work with adults with disabilities, the purpose of the institute was to rehabilitate disabled men and to provide them with training to become economically self-sufficient. the mission extended worldwide. under the leadership of douglas crawford mcmurtry, a highly regarded designer, historian and bibliography or, whose interest in the disabled began when he compiled a list of all materials regarding handicapped children in the society for crippled children. during the years he served the red cross institute, he conducted disability studies held public forums, published numerous documents about worldwide vocational training initiatives, created bibliographies of vocational training programs, and designed posters with messages regarding rehabilitation and resilience. there is apparently a huge body of work by mcmurtry here in the library of congress. he was like the classic bibliographer. under the auspices of the red cross institute for crippled and disabled men, 18 posters were designed and sent out to exhibits and public institutions across the country with messages in alignment with the government's postwar position regarding the care of crippled and disabled veterans. physical wellness is equally good with economic stability -- equated with economic stability. the types of vocational programs available to the war-wounded are showcased in these exhibition posters. they even represent training programs for war veterans throughout the world. these posters showcase efforts in france and india. in the photographs collection is a photo album of the vocational training workshop at the portfolios read educational school in belgium. a detailed report of the activities of the school by the red cross institute for crippled and disabled men brings these photographs to light. built by the belgian ministry of war in 1915, the work of the school was divided into three departments, the medical service, the academic department, and the department of technical training. over 40 trades were taught in the shops of the department of technical training. some of the art-focused workshops were wood carving clock making, engraving, and bookbinding. like the re-educational school in port valens, nearly all of the war-infected countries offered their own folkish and training and occupational therapy programs. field marshal lord frederick sleigh roberts had long campaigned for more to be done for asked service members especially those who had been disabled. when he died in france in november 1914 while visiting troops fighting, he -- a decision was named to name -- was made to name workshops as a memorial to him. the workshops employ disabled veterans, as well as the dependents and daughters of serviceman. by 1920, there were 11 workshops throughout the country, and some with specialty. metal toys including lead soldiers were made in birmingham. the bradford workshops focused on printing and woolly toys. liverpool and belfast made small furniture toys -- furniture and toys. by 1921, government subsidies were cut and several of the workshop branches were forced to close. in addition to the lord roberts memorial workshop in bradford, there was also embroidery work created by shell-shocked soldiers who attended classes at the bradford khaki handicrafts club while convalescing at the abram peel hospital, a military establishment for neurological disorders. under the guidance of noted embroidery teacher louisa francis purcell hospitalized soldiers provided the khaki club a cross stitch front flip for use at services in the hospital chapel. this remarkable alter clotch, hand-embroidered for st. paul's cathedral in london, was a project organized by the royal school of needlework. reduced by commonwealth soldiers from the u.k., australia canada, new zealand, and south africa, convalescing in hospitals throughout britain the therapeutic lap craft not only resulted in beautiful embroidery but also contributed to the restoration of fine motor skills and coordination and valuable the men with limb injuries. the activity also offered a welcome distraction from the emotional anguish of their war experiences. the 10-foot-wide altarpiece with five panels was completed after the war by the royal school of needlework experts who stitched the sections together. upon its completion, the cloth was presented to st. paul's cathedral where for decades it graced the front of the cathedral high altar. after the cathedral was bombed during the second world war, the altar cloth was removed for safekeeping, stored away for over 70 years and last august it was reinstalled in the cathedral as a commemoration of the war. another one of the exciting fines of this project is the archival materials related to the war service of canadian designer nan robertson miller who trained in new york at the pratt institute. upon graduation in 19 oh nine she returned to canada to teach. in 1914, she was hired as the arts and crafts teacher at the braemar school in vancouver, british columbia, and in 1917 the school was taken over to serve as a convalescent home for soldiers. miller took a vocational training course in order to work with the returning soldiers at a vancouver military hospital. she worked with the department of soldiers civil reestablishment, becoming director of the vancouver occupational therapy program. one of the existing examples of the artwork created with the convalescing servicemen is the toy depicting a dutch or belgian hasn't woman holding her -- peasant woman holding her child. toy making was ubiquitous and occupational therapy programs. also, it is so unusual to actually find the object itself like this. i have and stuart o'donnell to thank for this -- anne stuart o'donnell to thank for this. occupational programs proliferated throughout the united states on military bases and at art organizations and artist studios. these three examples will demonstrate the wide reach of training available for wounded veterans' interest in the arts. one of the first serious attempts to give disabled veterans employment opportunities after the first world war was the occupational therapy program at fort mchenry u.s. army hospital number two in baltimore. the classes were offered to keep the wounded occupied and also provided potential means of livelihood. the spirit of the hospitals rehabilitation program was best depicted in an illustration of a recovering soldier on the anniversary cover of "the trouble buster," fort mchenry's own magazine printed on its own presses by its patients. at the column day naval camp -- tell himpelham bay naval camp studio, veterans took studio classes with a well-known 21st century newspaperman and cartoonist. berger was living in new york city during and after the war. the wounded soldiers in his class in 1920 were compensated by the government while they were training. in 1921, the society of illustrators opened the school for disabled soldiers with support from the veterans bureau. the school ran for three years in government-provided facilities with government-supplied equipment. between 75-100 students were trained at the school, and they probably announced that 33% of their students were doing illustration work for some of the best magazines in the country. the school closed in 1924. one of the crafts considered as a particularly viable career option for disabled veterans was metalsmithing. in chicago clara barton wells found some of the occupational therapy programs sweeping the program after the war to be inadequate for providing actual employment opportunities. she particularly objected to toy making. [laughter] in 1918, wells opened her studio workshop for a class to teach the wounded useful arts. final products like the copper and silver box made by a wounded soldier in another occupational therapy class was more likely what she had envisioned. the experiences of william waldo dodge junior are also an example of what clara barton wells had in mind for postwar employment. dodge returned from the war in 1919 and spent the next four years in military hospitals and tuberculosis sanatorium's. his time as a convalescent played a role in the development of his career as a silversmith and later as an architect. dodge began his journey into silversmith thing while recuperating at the gaylord farms sanatorium in connecticut. there he learned of the basics from margaret wheeler robinson who he married in 1921. together, dodge and his wife established a silversmith in workshop, gaylord silver craft which became a part of the vocational training and occupational therapy for the sanatorium. the dodges developed many of the products by the workshop, such as the money clip, cufflinks and the bracelets you see here. while dodge moved on to a postwar career as an architect in north carolina, ralph grimm's work as an artisan remain firmly identified with his occupational therapy training at walter reed general hospital. just four days before the armistice was signed, grimm lost both of his legs in an offensive. unable to return to his previous employment as a minor in colorado he took up silversmith thing and jewelry making under the tutelage of hospital reconstruction aide alberta montgomery. in 1920, he opened a studio across the street from the hospital, went on to complete commissions for institutions such as the national cathedral exhibited his work in local arts and crafts shows, and met with dignitaries such as misses calvin coolidge. the mark for grimm's work is the insignia of his regiment, the 89th division of the 355th infantry. sadly grimm's memory of his war experience never left him, and in february of 1935, he used gas to take his life. i'm going to skip this slide. horace pippin lost the use of his right arm to a sniper bullet during the war and confronted limitations of access to the kinds of rehabilitation programs that were typically available to white disabled veterans after the war. despite the celebrated accomplishments of pippin's 369 revit -- regiment, they were the only american troops to serve consistently on the front lines with the french for six months. their heroism was blunted by racism and their ambition of the quality -- equality were summarily dismissed. pippin shows to go his own way using art to craft a new identity, knowing that the war brought out -- noting that the war brought out all the art in me. as the sole agent of his own rehabilitation, pippin married, created a stable home life, did all jobs, collected a pension and took up painting. his body of artwork included recreation of american history landscapes, portraits, still life, biblical and spiritual motifs and between 1930 and 1945, some 30 paintings about war. to them cap a journal or while he was in france, and his 1945 painting "the barracks" suggests one of his journal notes -- i had not seen the sun in more than a month. another war-related painting, "mr. prejudice," powerfully captured pippin's feelings regarding segregation. created during the second world war as a commentary about the repeated bigotry toward african-american soldiers in service, the painting divides whites from blacks and he picks a grim faced white man hammering a wedge into the v for victory a poignant symbol that not only referred to winning the war in europe but for african-americans, winning the struggle for equality in the u.s. i'm going to jump some slides. i had a full section here that is really sort of a run through from world war i until now. i will just put them up for a second. the red cross arts and skills was an amazing world war ii program. this was another program that brought metalwork to walter reed . the military also embraced arts and crafts and had a very vibrant program that started through the 1950's and is actually still going today. vietnam, help hospitalized veterans, which is a nonprofit that has been passing out craft kits at v.a. hospitals for free since vietnam and then some of the art therapy, music therapy work of the current wars. the masks that you see are from the art therapy work of melissa walker at the national intrepid center of excellence at walter reed there is a brand-new article in the february issue of "national geographic" about these masks and melissa's work. then there's also nonclinical art projects that are happening in the hospitals. as we now lived through this incendiary years of world war i veterans and artists alike are not only creating projects that speak to the memories of the great war but also articulate our more current war experiences through expressions of devastation. giuseppe pellicano's gas masks made at a workshop in wisconsin in 2012 recalls the horrors of gas warfare that is so hauntingly featured in clagett wilson's 1919 painting "symphony of terror" where a row of combatants in gas max are dimly depicted in the trenches by the blast first -- burst. trained as a sculptor, british artist paddy hartley's creative career began infecting -- intersecting with medical technology in 2004. his faith -- his work with face corsets led him to the pioneering facial surgery work for world war i soldiers completed by dr. harold gillies at queen mary's hospital. two major projects developed from heartily -- hartley's discovery, the ongoing façade and the 2007 national army museum chelsea exhibition, "faces a battle," that was attended by many of the descendents of the men. project façade combines and interprets elements of surgical, social, and military history with the contemporary art making process. the first phase of project façade broke the untold histories of 16 world war i servicemen treated for horrific facial injuries to international audiences. using vintage uniforms as a canvas and embroidery as the means of conveying new lead discovered stories about the men, hartley used the fabric to call to mind skin, tissue, and surgical stitchery. research in the national archives and information from the descendents family enhance the findings hartley on earth in the gillies archives. the stories of the men's pre and post-war lives were sometimes full of hope, and other times, brutally tragic. hartley is currently developing the second phase of project façade, creating new work to be showcased during the centenary years of world war i. project façade is archived by the british library. i chose this particular piece because it's the same person whose work i showed when i had the image of dr. gillies' w orkshop up. this is william sprinkling - spreckley. in 2011, former combat armor -- artist michael did fail launch the jo bon -- joe bonham project. it was the inspiration for the arts group initiative. the joe bonham project is witness art document in today's battle wounded servicemembers. unlike the fictional bonham who was hospitalized and forgotten the purpose of fay's project is to keep the sacrifices and indomitable spirit of our current day wounded warriors present and accounted for. access to wounded servicemembers at the watery medical center in bethesda maryland and the maguire va hospital in richmond allowed fay and his team of artist including society of illustrators artist victor charles do loss, to not only document the battle wounds sustained and by these combatants but to demonstrate the ways in which these warriors are still in the fight. fay sees the artists role as visually recording the courage and sacrifice of these men and women and keeping their experiences both visible and viable. accordingly, these are portraits of rehabilitation and resilience the. fay notes that the aim of the project is to be neither pro-war nor antiwar. we are not here to politicize the service members we are portraying. we are here to humanize them and give them a presence beyond the walls of their hospital rooms and therapeutic clinic's. both men illustrated here exemplify the resilience of the human spirit. sergeant jason ross lost both his legs to them ie -- an died, while -- to an ied. in june 2014, in a ceremony at the white house, president obama this note upon carpenter the medal of honor, the united states highest military honor, for his actions in helmand province afghanistan in 2010. like veterans of the first world war, many of today's former servicemembers had embraced art making and are using their chosen medium to convey diverse messages. patrick sergeant's "reveille" recalls early mornings during his time in the air force. "prisoner of war" is an image of herself superimposed of herself -- over the man who attacked her. ehren tool has given away nearly 15,000 clay cups. tool believes the cup is a proper size for discussions of war. i use this -- i end this lecture with one of my favorite art pieces, an image that depicts a helicopter from the iraqi war and an irish war memorial from the first world war. the title references a poll by world war i veteran and poet wilfred owen who was killed in the war. we close with a reading of owen's: by british actor -- ow en's poem by british actor christopher atkinson. >> [indiscernible] dulce et decorum est. >> thank you. [applause] i'm hearing we have five minutes for questions. somebody might be able to -- ok. >> how does the craft that you are exploring here, how does it relate to craft ongoing otherwise in our culture? >> for what is happening now? it actually fits into sort of a social agenda. there is a term called craftivi sm. this work is very much representative of that it's an activist perspective. >> how did you decide where to put your attention? it sounds as if there was no way you could see it all. >> i didn't see it all. [laughter] mary lou who's one of the advisors here has heard me regularly -- i don't know what i'm doing. [laughter] the act of actually putting -- power points really work for me because i can use the visual and the narrative together to construct and show how something works and has a continuum. >> in my work, i've come across regulations were disfigured soldiers were simply not allowed to go outside. how did that intersect with any of the craftwork you researched? >> they didn't. >> there were no programs that targeted them? >> actually, i just don't know if that. -- if that, if there were programs that were in the hospital, if they also brought in people like louisa casale to work with the men. that requires going to the u.k. and kind of digging into the gillies archives to see what might be there. >> in the chicago area, they banned disfigured veterans from coming out in the public for a while. i wondered if craftspeople tried to seek out those people or fight the regulations or whatever. >> it's an overwhelming topic. let me just say. >> i just wanted to ask -- i'm wondering -- you talked a lot about world war i in this lecture, and you kind of see the beginning, or at least what we know to be the beginnings around world war i. how do you contrast what goes on today of a similar nature with world war i. -- world war i? >> actually that section i buzzed through really fast is that bridge. this section sort of lays out the different ways across 100 years that the arts were used and used in different ways. world war i, there was a lot of intersect between vocational training and occupational therapy, and it got very confusing. by world war ii, some of that was shifting. some of what was being done in world war i was occupational therapy and was being done as recreational therapy in world war ii. arts for recreation was something else entirely, which was on military bases, and then our therapy -- art therapy moving today. is that what you are looking fo