In the late '60s and early '70s, most Americans had mixed feelings about the Vietnam War because it was a controversial conflict that for many had moral ambiguity. Even though many Americans questioned the justification for military involvement, there were others who felt a sense of duty to support the troops even though it seemed like an unwinnable situation
Even some 50 years later, the Vietnam War is still viewed by many historians as a conflict with many unanswered questions. And perhaps the ambiguity and the complex realities of that war have led many Vietnam veterans to express their ethical dilemmas through their art.
In the current exhibition, Ron Mann: Life & Work, at the National Veterans Art Museum (NVAM), there are 75 of Ron Mann’s (September 12, 1943 to October 1, 2023) works on display. His art is a narrative about his personal journey from serving in Vietnam through his time of returning home and trying to adapt to life as a civilian while suffering from PTSD.
Mann served in Vietnam in 1966-1967 as a helicopter gunner and didn’t start painting until 1992 when he was close to 50 years old. For his first 10 years as an artist, he painted with black and white acrylic on canvas and his work for the most part dealt with his Vietnam experience. About 10 years later, he started to paint with color acrylics and to address other topics such as social issues and family matters.
When looking at many of Mann’s works, one is immediately drawn to the raw emotions he expresses on canvas. In many of his works, he allows himself to be vulnerable as if he is having a frank conversation with the viewer about his war experiences. He doesn’t hide from the truth nor offer an apology about his involvement in the war.
One cannot help but feel a haunting aspect to his work. The starkness in his early black and white paintings seem to magnify the nightmarish aspects of what he experienced during the war. In a number of his works, we are confronted by ghoulish faces that have an unsettling, nightmarish effect. At first glance, our instinct is to look away because the images have an eerie intensity, but yet something makes us take a second look, hoping we can get a better grasp of what he is trying to tell us.
In KIA we see a figure carrying another figure that was killed in action. When looking at this work, we are not sure if the figures are American GIs or Vietnamese, but in the end it doesn’t matter because Mann reminds us that war is an ultimate equalizer that creates casualties on both sides. Another powerful work is David & Goliath where Mann uses the biblical story to illustrate how Vietnam is like David who slays the United States despite all its military might.
Equally haunting is Reunion of Vietnam Children where one sees the ghostly faces of Vietnamese children. In this work, Mann reminds us that a happy reunion cannot exist once a war is over—there are no happy endings because suffering and pain continue to exist either on a physical or an emotional level.
Mann also investigates the aftermath of war and how he suffered from PTSD when he returned home. A powerful image on this subject is Crown of Thorns where the viewer sees a person hanging from a cross and wearing a crown of thorns. In this work, Mann is not mocking the Christ figure, but rather presenting a graphic illustration of the suffering many experience once they return home from war and how they may feel forsaken by their country and their God.
Although many of Mann’s works are about Vietnam, a number of his paintings also address social issues such as global warming, the threat of nuclear war, and the AIDs crisis. There is an intensity in Nuclear Explosion, where we see faces that seem to be melting as they float against a greenish-blue background. In Global Warming, Mann again uses ghoulish faces to full effect as he illustrates the dire consequences that can come from global warming. And in Trail of Tears, Mann makes a strong statement about how unfairly indigenous people have been treated by western civilization.
Over the years, Mann has acknowledged his own personal struggle and failure of being a good father and husband. Through his art, he tries to honor his family such as in Family Tree where he pays homage to his four sons. And in Mother Father Child and Grandchild, he creates a long and narrow painting that resembles a totem pole, displaying various members in his family.
Moki Tantoco, Director of Programs & Engagement of NVAM, stated, “When looking at Mann’s work, he reminds us that art can be a powerful vehicle to process pain and heal wounds. His work also tells us that we all have the capacity to change despite what we have experienced in our life.”
The strength of Ron Mann: Life & Work is in how he takes us on a personal journey that allows us to gain a deeper understanding of the pain that many veterans face when coming home from war.
Ron Mann: Life & Work will be on display through May 9, 2025. The National Veterans Art Museum is located at 4041 N. Milwaukee Avenue on the 2nd floor. Hours: Tuesday thru Saturday 12pm to 4pm. Closed Sunday and Monday. For more information, visit their website or call (312) 683-9778.
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