Sometime after Shepard's first suborbital flight, GM President Ed Cole decided that Shepard should receive a Corvette, which he did-a '62, with a deluxe Bill Mitchell interior." Despite the status and celebrity of the new astronauts, the idea of giving any of them a Corvette was anathema to The General. Duntov even brought Shepard to Detroit to test-drive pre-production models.
Shepard loved fast cars, and his affinity for Corvette (he'd also owned a '53) didn't go unnoticed by Chief Engineer Zora Arkus-Duntov. "Navy pilot Alan Shepard, one of the original "Mercury Seven ^," was on his second Corvette, a '57, when he joined the space program in April, 1959. The forms of people are abstracted to a few lines on the catwalk in the left center of the scene." How astronauts and corvettes became associated :. The gantry in the background on the right is shown from the bottom up and the center is a heavily darkened vertical column. The front of a Corvette is shown in the foreground and two larger vehicles are parked to the right and back of it. Of the works developed, National Gallery of Arts chose 70 paintings, sculptures or drawings for "The Artist and Space" exhibit that ran from December 1969 to early January, 1970" Participants met astronauts at launch sites, such as Cape Kennedy, or rode helicopters to observe the pickup of astronauts. A total of 47 artists were involved in the "Eyewitness to Space" program, including Robert Rauschenberg, Lamar Dodd, Norman Rockwell, and Morris Graves.
His assignment changed when he was granted top-security clearance and took part in “Eyewitness to Space”, a program jointly sponsored by NASA and the National Gallery of Art in Washington to depict the activities of the Apollo mission through an artists' perspective. Although at one point scheduled for immediate deployment to Vietnam, flights were cancelled for noncombatants. An illuminated exit sign is in the empty dark space on the right." : "From 1966 to 1971, Wyeth served in the Delaware Air National Guard. Five light blue monitors are on the wall above the consoles, and three clocks are above them. Rows of consoles and people seated facing them extend from the foreground to the middleground, occupying half of the space. by James Wyeth "A view from the back of the firing room, which is headquarters for Launch Control at the Kennedy Space Center.
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