Jim Pollock Question and Answer Main Page
JIM POLLOCK INTERVIEW (copyright) Jim Pollock
4/15/98
Interview questions by Journalism Graduate Student at University of Miami, Florida, for a class project/paper
Questions revolve around the subjects of Vietnam Combat Art experience, motivation, specific moments, and current work.
Q: WHAT MOTIVATED YOU TO BE AN ARTIST IN VIETNAM?
POLLOCK: I wouldn't say that I was motivated to go to Vietnam per se.
I graduated from South Dakota State University (SDSU) with an art major in 1965. Military was not on my list of things to do after college. About the time I graduated from college the military was building its forces in Vietnam. With volunteers not coming forth the draft was increased and not being married and in good health, I was a prime candidate for the draft. It seemed that every time I would apply for a job one of the first question at the interview revolved around my military status. Although it was not directly communicated, when I read between the lines I knew they were not really interested in hiring and training someone only to be drafted into the military.
Enlisting in the army was not an option considered, that would have been a 3 year hitch. Being drafted meant you only had to serve 2 years. Finally, after several job interviews that didn't pan out, I decided to go to the draft board and ask them move me to the top of list. I knew I was going to be drafted anyway, so I convinced myself to volunteer for the draft and get it over with. The draft board was happy to put me at the top of the list and in 1966 I was drafted into the U.S. Army. I did my basic training at Ft. Leonard Wood in Mo.
My instincts and hopes were that the Army would not take a college graduate and send him as an infantry foot soldier into the jungles of Vietnam. I don't know if my instincts were right or it was luck, but I was sent to Fort Ben Harrison (no longer exists) near Indianapolis, Ind. for advance training as a Postal Clerk. An office job sounded just fine with me. In the U.S. civilians handled Post Office chores and the army indicated 90% of the graduates of the Army's Postal School would be sent overseas. I figured, the odds were still with me, there were a lot of countries other than Vietnam that I could be sent to. Again, I lucked out and was sent to South Korea, where I worked as a postal clerk with 1st Base Post Office, 8th Army at Camp Ames. It was great duty and I actually enjoyed my time in South Korea.
While working as a postal clerk in Korea in 1967, a friend by the name of Brooks had cut out an article that appeared in the Korea Edition of PACIFIC STARS AND STRIPES newspaper that announced army wide competition for the U.S. Army Vietnam Combat Artist Program for FY 1968 (announcement covered teams IV, V and VI from 1 July, 1967 through 1 January 1968).
Another South Dakota State University graduate had been a war artist during WW I. Having studied his work as a war artist and seen many of his originals that are housed at SDSU I immediately grasped the significance of the article and the program being advanced. I also was inquisitive as to what was going on in Vietnam. The Vietnam Combat Art Program offered the opportunity for me to go to Vietnam as an artist, so I made my application following guidelines outlined in Circular No. 28-30 which was distributed by the U.S. Army Crafts Program in Army Command special Services Office in South Korea.
The application included samples of my art, I believe they wanted some originals, some slides and a biography/resume. These materials were sent to the office of Chief of Military History, Department of the Army in Washington, D.C. where the actual selection process took place. If I remember correctly, the Army Crafts Program in Korea facilitated things between my local command and the Office of Chief of Military History in Washington.
At any rate, I was selected for Team IV along with 4 other soldier artists. Once I reported to Vietnam, we were given open travel orders and could for the most part move around in Vietnam freely. We visited many different types of units and usually stayed from 1 to 4 days. In Vietnam Combat Artists were assigned to the Office, Chief of Military History. We were encouraged to express ourselves freely and with any art style and subject we wished. There were broad written guidelines found in Standard Operating Procedure for the Combat Artist Program (HCSS SOP No. 424 on web site).
Q: DESCRIBE YOURSELF IN A SPECIFIC MOMENT SKETCHING IN COMBAT. AFTER BEING IN COMBAT, IS THERE SOMETHING YOU VIEW VERY DIFFERENTLY?
POLLOCK: First I would like to explain that being in Vietnam did not necessarily mean combat. For every foot soldier out on patrol in the jungle there were several support soldiers, whose jobs were just as important to the mission, yet they spent much of their time in relative safety. I say relative safety because Vietnam was different than many of the other wars the United States participated in. The North Vietnamese used guerrilla tactics. There were hard fought battles for sure, but the real terror was not knowing where the enemy was or what form of attack would next be used. There were no real battle lines drawn, and anyone anywhere in country was at risk, even soldiers in so called secure areas. Not ever feeling really secure or safe no matter what your job or where you were located was very uncomfortable.
The article I wrote ONE DAY IN VIETNAM (which you can read on the WEB site) chronicles one trip into the field. Another field trip more uplifting was a visit was to a remote village with 11 Armored Cavalry medical teams on a MEDCAP (Medical Civic Action Program).
It is not widely reported, but the U.S. Army engaged in activities other than combat missions. In general these non combat missions were called Civic Action Programs.
There were several incarnations of these Civic Action Programs. Sometimes people refer to them as pacification programs. They were designed to win the hearts and minds of the local Vietnamese population by helping them with whatever supplies or facilities organizers of the Civic Action Programs had available.
In general here is how Civic Action Programs were supposed to work. A Team of specialists would visit villages and tend to the needs of the locals. The particular Civic Action Program we visited was a MEDCAP. The team of specialists were doctors and nurses.
Briefly this was my experience on a MEDCAP with the 11th Armored Cavalry on the 12 of September, 1967. (not posted on the WEB)
Our visit at the 199th Light Inf.Bgd. at Cat Lai was ending. Ron Wilson and I were out on heli-pad waiting for transportation to the 11th Armored Cavalry base camp. We could see helicopters moving in and out of the another heli-pad directly across the road as we waited for our ride.
It wasn't long and someone yelled '"'the next one is yours. When you see it, move out and get in the chopper as fast as possible.'"' The reason the delivery and pickup was kept in high speed motion I presumed was to keep the helicopter from becoming a target. An officer scrambled out the opposite side of the Huey helicopter as Wilson and I climbed in the open doors.
The rotor blades started their loud clopping indicating the pilot was throttling up. The rotors speeded up, the clop of the rotors became louder as the helicopter gently lifted from the ground. Below I could see the base camp getting smaller and smaller. I could see small hamlets and villages passing below as I watched out the open door. . .
As the 11th Armored Cavalry base camp became visible it was not much--tents and temporary wooden buildings arranged in the standard Army pattern in a clearing. The landing heli-pad was a small square area of hard top. As the helicopter set down we jumped out and waved a gesture of thanks to the pilot as the aircraft's runners lifted from the pad before we reached the end of the small area of hard top.
A jeep was waiting for us and we were taken to Headquarters and briefed on current projects. The periodical MEDCAP (Medical Civic Action Program) was to take place on this particular day.
Everyone was required to wear a flak jacket (a bullet proof vest). The outside is nylon and looks like a vest. The jacket is heavy, very uncomfortable and in the heat is not a desirable item of clothes, even though the mission was to be peaceful the combat gear was just in case something unexpected would happen. . .
We were informed that the MEDCAP was being formed on the outskirts of camp--if we wanted to go we best hustle. The MEDCAP was to be at Long Gaio Village. In my journal there is a note '"'what I was to view borders on the bizarre.'"'
Wilson and I headed toward the outskirts of camp where dust was boiling up. Through the dust we could get glimpses of what was causing the dust to boil up. Tanks and APC's (Armored Personnel Carrier) were plundering around, the drivers trying to arrange them into some sort of caravan. In addition to the regular arsenal of ammunition, the tanks and carriers transported medical supplies, candy and soap.
Here we were, dressed in full combat gear, tanks, machine guns and mine detectors ready for a mission of dispensing medical aid and distributing candy to kids running around in their bare feet.
While we were waiting occasionally a soldier climbed off one of the huge armored vehicles and took a picture to send back home. It is was an impressionable scene, tanks with machine guns loaded and manned. Everyone running around in full gear. . . .
Wilson jumped in one vehicle and I another. I think he climbed on a tank and I climbed on an APC, I don't really remember. A red dust swirled up around us as these huge pieces of equipment moved down a dirt trail. Eventually we arrived at the village.
It appeared this strange incursion wasn't a surprise to the village, because people were waving and greeting our arrival. Kids had their hands stretched out for goodies which they received as soldiers threw candy and soap from their tanks.
Villagers formed lines and the Army medical doctors started looking them over and checking for obvious medical problems. If a something was diagnosed, the person was pulled from the line for further treatment. If they found none, they would give them a bar of soap and move to the next person in line.
No matter the motives or the outcome of the MEDCAP, it was an unusual site to see, all these heavy armored vehicles and soldiers dressed in full combat gear on a mission of peace, dispensing medicine and candy. It was a worthwhile mission for the Army. Certainly the Vietnamese villagers appeared to be grateful, especially the kids who were having a great time running around the tanks waiting for another piece of candy to be thrown.
Q: AS YOU LOOK BACK, WHICH ONE OF YOUR PAINTINGS BEST DESCRIBES A STRONG FEELING YOU HAVE ABOUT THE VIETNAM EXPERIENCE? WHICH IS THAT FEELING?
POLLOCK: It would be difficult for me to choose a particular painting or drawing that best describes my thoughts on Vietnam. One of the things I tried to do with my art was to describe the every-day soldier in every-day situations. I tried to capture the essence of the common soldier's experience in Vietnam and pass that experience on to the viewers of my art.
If through my art the viewer has a glimpse of just one aspect of what it was like to be a common soldier in Vietnam in 1967, then my efforts will have been worthwhile.
Q: HOW MANY COMBAT ARTISTS WERE THERE AND WHO HAVE YOU KEPT IN TOUCH WITH?
POLLOCK: Not as many as I would like to. I was on U.S. Army Combat Art Team IV (15 Aug.-15 Oct., 1967, Vietnam; 16 Oct.-31 Dec. 1967, Hawaii ) with Sam Alexander, Burdell Moody, Daniel Lopez, and Ronald Wilson. Lt. Frank Thomas acted as Technical Advisor. I have kept in touch with Sam Alexander and Burdell Moody. Sam lives in Tenn., two years ago he visited South Dakota and stopped in to see me. I have been and am continuing to track down as many of the Army artist who served in Vietnam as I can. I have made some progress with the names, but actually finding addresses and contacting them is really been a slow process.
In the book SOLDIERS SERVING THE NATION, published by U.S. Army Center of Military History records: '"'Between 1966 and 1969 a total of forty-two soldier-artists served four-or five-month tours of duty in Vietnam producing paintings. In addition ten civilian artists, hosted by the Army, toured Vietnam for thirty-day periods where they gathered impressions of the war.'"
Q: DESCRIBE YOURSELF AS AN ARTIST TODAY COMPARED TO YOUR WORK FROM 1967. HAVE YOUR VIEWS ON ART CHANGED SINCE YOUR EXPERIENCE IN VIETNAM?
POLLOCK: As a soldier artist I was in my early 20's, twenty-two or twenty-three. Very young in the world of art and I had not defined myself as an artist. This Vietnam experience, in addition to allowing me to contribute something to history, gave me confidence to continue with my art career.
My art has changed and it continues to change over the years. My views on art are also in a constant state of revision. The Vietnam experience, however, did solidify my belief that art can have an important role to play in history even in an age where cameras and photography abound.
Q: FAMILY/AGES (WIFE, KIDS)
POLLOCK: Am married to a very tolerant woman named Betsy, have a stepdaughter, Stephanie and two grand-kids.
Q: DO YOU STILL PAINT?
POLLOCK: Yes, actually I draw more than I paint.
Over the years I have developed a series of prints, cards and other art related products that I sell through direct mail and retail outlets. I have never been represented by a gallery, agent or anything like that.
Q: WHAT OTHER ACTIVITIES ARE YOU INVOLVED IN?
POLLOCK: My interests are wide and varied. I enjoy visiting with my friends. I like to read, and I am subscribed to more magazines than I should be. I find the internet and the information it contains fascinating. I like to fish and be in the outdoors. I have a small garden which I enjoy puttering around in.
In 1988 I was appointed by the Governor of South Dakota to the South Dakota Arts Council and I served 6 years on that board. Even though my last 3 year term expired in 1994, serving on the South Dakota Arts Council was an interesting and lasting experience I learned in depth about the various arts disciplines and happenings in South Dakota.
I have a little piece of property that I enjoy planting trees on. In South Dakota's arid climate it is an uphill battle for trees to survive, but I keep planting them anyway. Some grow, and the trees that do survive become special.
Q: PLEASE ASK YOUR WIFE TO WRITE SOMETHING ABOUT YOU AND YOUR ART. I'D LIKE TO HAVE HER PERSPECTIVE.
BETSY: It always amazes me that Jim has the ability to take a simple line and turn it into something recognizable.
He also has some other traits that confound me. Jim is the great collector of junk. He doesn't seem to be able to throw anything away. His famous last words are, 'it might be a collectors item someday and regardless if it becomes a collectors item or not, it is a part of history and should be preserved'.
Q: WHAT DO YOU KNOW ABOUT ART THERAPY? DO YOU SEE ART AS A SOOTHING ACTIVITY, OR HAS IT ALWAYS BEEN MORE OF A COMMERCIAL TOOL FOR YOU?
POLLOCK: Very little. Have read some articles and books that included the subject. This is a technical field that is not my area of expertise and would rather not comment on the subject.
My interest in art did not start as a commercial tool. The commercial aspect sort of evolved out of a necessity to make a living.
Drawing has been important to me ever since I can remember. When I was young, my Aunt Lottie, who was a first grade teacher, would invite me over to her house on weekends. She provided me with pencil, paper and watercolors and patiently guided and encouraged me while I drew and painted.
According to Aunt Lottie, everything I did at that early age was '"'just wonderful.'"' Some of this pre-school art of mine is still around, and anyone who sees it knows these early drawings are nothing more than normal attempts of a three or four-year-old child trying to express himself. But to me, as a young child, they were special because Aunt Lottie said they were and I believed her. I am sure this encouragement was an important influence on my continuing interest in art as I grew older.
Through grammar school and high school, I did not have any formal training in art, but I continued to draw and sketch on my own. I read books about how to draw. Sometimes I would copy cartoons from the newspapers. While in college, my training became more formal and I also learned that keeping a sketchbook is a way of making visual notes of the day to day experiences and observation.
At no time in my life did sketching play a more important role than when I had the privilege of being selected for the U.S. Army Combat Art Program. This experience of going to Vietnam as an artist was one of the defining experiences in my life.
Q: YOU ARE MORE OF A COMMERCIAL ARTIST TODAY, WHAT KIND OF GRAPHIC ART DO YOU DO? (QUARK XPRESS...PHOTOSHOP. I KNOW THOSE WELL. I DESIGNED A GOURMET NEWSPAPER IN FLORIDA AND WORKED FOR A WHILE AT YOUNG & RUBIAM ADV. IN BRAZIL.)
POLLOCK: In addition to my prints, cards, sweatshirts and other art related art products I have for sale, I do graphic layout and design on my Macintosh computer working from home. I started with the computer in 1986, before the days of Quark Express. The first page layout program available was READY, SET GO! Soon after READY, SET GO! became available PAGEMAKER was introduced. For all these years and much to the dislike of many service bureaus I have stuck with READY, SET GO!. I like it and it does everything I need. One service bureau hinted they might buy me QUARK EXPRESS if I would change over. I declined.
The other programs I use are pretty standard in the industry, FREEHAND, ILLUSTRATOR, MACDRAW, PHOTOSHOP, STREAMLINE and quite a few other programs. The thing is, I own and am familiar with a lot of programs, but am not an expert with any of them. I spend a lot of time with manuals. One would think after all these years I would have developed enough expertise in using these programs to not have to rely on manuals, but not so, I would be lost without my manuals.
I do a 4-color magazine for the South Dakota Game Fish and Parks as well as a few logos, brochures and things like that.
After my two-year stint in the army, a company called North Plains Press read an article about me and called and asked if I wanted to go to work for them as art director. They published a few books and a regular farm magazine called the DAKOTA FARMER.
I told them I really didn't know anything about art directing or the printing business. They offered to teach me if I would go to work for them. It turned out to be a defining educational experience. I learned publication and pre-press from the ground up. When I started in this business there were no computers used in pre-press work. The linotype and old IBM selectric with a magnetic tape was our typesetter, we produced headline type with the linotype and varityper. Everything was glued to a board with rubber cement and the process was called paste-up. Keylining if you worked in a fancy ad agency.
Fine art is so fickle financially and artists often need a source outside of their art for income. The graphics art area was a trade I could take with me wherever I went.
After leaving North Plains Press I tried a making a living at Free-lance photography. I traveled around the country, even was published in some major magazines such as NATIONAL WILDLIFE, BETTER HOMES and GARDENS, but eventually went broke doing this.
After my stint as a free-lance photographer didn't work out I took a job as a graphic designer in the Department of Public Instruction for the State of South Dakota and this job expanded into working with various other agencies within the State of South Dakota government.
In the late 1970's, once again, I struck out on my own, this time as a free-lance artist. Between this and my art sales I have made my living.
I made the transition into the computer age and was actually on the front lines when the transition was made. For a short time in the late 1980's I was giving lectures at colleges on the use of the computer in art. In 1986 I had the first computer generated art show in South Dakota at the Sturgis Public Library. Technology moved faster than I did, so I'm no longer on the front lines, but I do have a working knowledge of what is being done with technology in the area of art.
On January 16, 1996 I posted a web page on the internet. I was the first South Dakota artist to put together his or her own web page.
Q: TELL ME WHATEVER MORE YOU THINK MIGHT RELATE. THE PROFILE IS ON YOU, LOOKING BACK ON TIME AS A COMBAT ARTIST.
POLLOCK: This experience of going to Vietnam as an artist was one of the defining experiences in my life and am certain my life would have been different without it.
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