Now Showing: “On the Road” Marine Corps Art Exhibit
"On the Deck" by Colonel Avery Chenoweth, USMCR
Art from the Front Lines
Conflict and compassion shaped images that still speak today.
The U.S. Marine Corps Air-Ground Team: Art from the Collection of the National Museum of the Marine Corps “On the Road” is a traveling exhibit now on view at Norwich University’s Sullivan Museum and History Center through January 23, 2026. The exhibit is made possible by the Marine Corps Heritage Foundation, a nonprofit partner that funds and supports major programs and exhibitions at the National Museum of the Marine Corps. This special collection features original works created by Marine and civilian combat artists who served in the field, documenting training, combat, and humanitarian missions from World War I through the conflicts in Iraq and Afghanistan.
About the Marine Corps Combat Art Program
The Marine Corps Combat Art Program began during World War II and was formalized in 1966 during the Vietnam War. Its mission is simple: send artists into the field to record what they see. These artists work on the ground, often embedded alongside Marines, capturing moments that photography cannot. Quiet intensity, connection, and the human cost of service are all rendered in paint, pencil, and ink.
The program continues today through the National Museum of the Marine Corps and includes both former service members and professional artists. Featured contributors include Kristopher Battles, Elize McKelvey, and Donna Neary, among others, each bringing their unique perspective to the Marine experience.
U.S. Marine Corps Legacy
As the United States Marine Corps prepares to celebrate its 250th anniversary in November 2025, this exhibit offers a timely and powerful way to reflect on its impact through the eyes of those who observed, served, and created.
About the Sullivan Museum and History Center
The Sullivan Museum and History Center is Norwich University’s home for exploration, discovery, and connection. Named for General Gordon R. Sullivan '59, the museum invites visitors to uncover stories from Norwich’s founding to the present day. As Vermont’s only Smithsonian Affiliate, it offers a dynamic mix of student-led exhibits, historic artifacts, and interactive displays that bring two centuries of military, academic, and cultural history to life. Whether you are visiting in person or exploring online, the Sullivan Museum is a space where Norwich’s past meets its future.
Guided into Position – Colonel Avery Chenoweth, USMCR
The Artists Behind the Lines
Their work was not imagined; it was drawn from what unfolded in front of them. Many of the artists featured in this exhibit were trained to sketch in the field, often working under the same conditions as the Marines they were documenting. Some are veterans themselves; others served as embedded civilian combat artists. All transformed lived moments into works of reflection and meaning. Their perspective brings us closer to the people, places, and emotions behind U.S. Marine Corps service.
Staff Sergeant Kristopher Battles, USMCR (Ret.)
Kristopher Battles
Kris Battles served for a decade in the Marine Corps Reserve before returning to duty in 2006 as a combat artist. He deployed to Iraq and Haiti, documenting both combat and humanitarian missions. Today, he serves as the artist in residence at the National Museum of the Marine Corps, where he continues to create and mentor new artists in the Combat Art Program.
"I've had the privilege of traveling all over the world to sketch and photograph Marines and sailors in both war and peace. I've grown as a Marine, a person, and an artist. The Combat Art Program became my real masters program in painting."
— Kris Battles, artist in residence, National Museum of the Marine Corps
Colonel Donna Neary, USMCR (Ret.)
Donna Neary
Donna Neary served more than 20 years as a combat artist with the Marine Corps Reserve. Her assignments took her across the globe, including to Somalia, Korea and the Arctic Circle. She is recognized for her historical interpretations of Marine Corps service, as well as for designing the 1994 White House Christmas ornament. Neary continues to create from her studio in the Shenandoah Valley.
"The subject matter available to document in art was wide-ranging and inspiring. I am honored to have been part of the Marine Corps Art Program."
— Donna Neary, combat artist and retired Marine Corps Reserve captain
Staff Sergeant Elize McKelvey, USMC (Ret.)
Elize McKelvey
Elize McKelvey joined the Marine Corps the day after graduating with a Bachelor of Fine Arts in illustration. She began her service in Combat Camera and later served as a combat artist in Iraq. Known for her emotionally resonant work and commitment to storytelling, McKelvey continues to contribute to the program as a freelance artist and remains active in both veteran and arts communities.
"You never want to limit how you share a story. A photo is a moment in time. An art piece can take all those moments and put them into one painting."
— Elize McKelvey, combat artist and Marine Corps veteran
Marc Poole, USMC Combat Artist
Marc Poole
Marc Poole is a Mississippi-based artist and college professor whose work with the Marine Corps Combat Art Program focuses on aviation and modern deployments. He brings the perspective of a civilian artist embedded with military units in the field. His paintings are shaped by firsthand observation and a deep respect for the people and missions he documents.
"Capturing the stories of those whose experiences went unvisualized gives me a greater artistic purpose. We know what we create becomes part of the Marine Corps historical record."
— Marc Poole, combat artist
Inside the Exhibit
Original works that reveal the mission, memory, and meaning of U.S. Marine Corps service.
This exhibit features work by Marine and civilian artists who served in the field, capturing moments shaped by lived experiences. The artwork is arranged with intention, guiding you through moments as they unfolded. Images can suggest the power of these pieces, but standing in front of them is different. The lines and color carry weight. You begin to see not just what the artist saw, but how they saw it.
