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A Decade-long Day

The New York Sun features a great article on The Joe Bonham Project at Storefront.

"9/11 did not end on 9/11. For American soldiers, 9/11 has been a decade-long day," says James Panero, noted art critic, Managing Editor of The New Criterion, and curator of "The Joe Bonham Project," currently on display at Storefront. "As of this summer, over 44,000 troops have been wounded in conflicts following the attacks of September 11. Over 1,300 of them have undergone partial or full amputations. 'The Joe Bonham Project' represents the efforts of wartime illustrators to document their rehabilitation."

Thank you Franklin Einspruch for this honor and recognizing the sacrifices of our wounded warriors.

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The Joe Bonham Project: Opening Night

9/11 did not end on 9/11. For American soldiers, 9/11 has been a decade-long day. As of this summer, over 44,000 troops have been wounded in conflicts following the attacks of September 11. Over 1,300 of them have undergone partial or full amputations.

The Joe Bonham Project,” represents the efforts of wartime illustrators to document their rehabilitation. Formed in early 2011 by Michael D. Fay, the Project takes its name from the central character in Johnny Got His Gun, Dalton Trumbo’s 1938 novel of a World War I soldier unable to communicate with the outside world due to the extent of his wounds.

Through portraiture, artists from both military and civilian life now work to ensure that today’s soldiers do not become tomorrow’s Joe Bonhams. I am pleased to connect these artists with New York's most vital artistic neighborhood and proud to present their work, for the first time, as our city marks the tenth anniversary of 9/11.
-James Panero, curator
The Joe Bonham Project at Storefront Gallery, Brooklyn
September 1-September 18, 2011

 

Here are pictures from the opening night of The Joe Bonham Project--Thursday, September 1, 2011, at Storefront Gallery in Bushwick, Brooklyn. Photos by Jason Andrew and James Panero

Thank you artists Rob Bates, Mike Fay, Jeff Fisher, Roman Genn, Bill Harris, Richard Johnson, Amber Martin, and Victor Juhasz for allowing me to introduce Bushwick to your art honoring our wounded warriors.

Thank you Bushwick and everyone else for coming out to support the Project.

And thank you Debbie Brown and Jason Andrew for giving me the opportunity to present this exhibition at Storefront Gallery.

Click here to read the story of Rob Bates, artist and Lance Corporal making his first trip to New York for the Bonham opening.

Here is the amazing story of Marine Than Naing, a wounded warrior depicted by his friend Rob Bates.

Check out Mike Corrado's amazing music video for his hit song "Still in the Fight," depicting the rehabilitation of remarkable soldiers like Kyle Carpenter and Aaron Mankin, and Joe Bonham artists creating work that now appears in The Project.

Here is Aaron Mankin on CNN discussing his rehabilitation after an IED bombing in Iraq.

This is Michael D. Fay in The New York Times telling the story of Lance Corporal Kyle Carpenter, who is recovering from a grenade explosion in Afghanistan.

Follow the family blog of Sargent Jason Ross and learn about how this specialist from the Explosive Ordnance Disposal unit in Afghanistan is recovering after losing his legs to an IED.

Here is artist Victor Juhasz telling the stories of Sgt. Joseph Dietzel, Sgt. Joshua Elliott, Sgt. Blumenberg, and Sgt. Joshua Elliott.

See what Jonathan Jones in The Guardian has to say about Mike Fay and The Joe Bonham Project.

The New York Sun features a great article on The Joe Bonham Project at Storefront. Thank you Franklin Einspruch for this honor and recognizing the sacrifices of our wounded warriors

Katarina Hybenova at Bushwick Daily has written a wonderful essay of the opening night at Storefront. Thank you for this thoughtful piece. 

National Review features a pitch-perfect article by Patrick Brennan on "Joe Bonham Project in Brooklyn: A Worthy Tribute"

Roger L. Simon gets the word out about Bonham on Pajamas Media 

Sharon Butler has some interesting thoughts about the role of art versus illustration at Hyperallergic.  

James Kalm Reports: A "Rough Cut" tour of The Joe Bonham Project by curator James Panero. 

James Kalm leads off his column "Brooklyn Dispatches" for The Brooklyn Rail with a meditation on The Joe Bonham Project and the effects of ten years of war.  

The Joe Bonham Project will remain on view at Storefront, 16 Wilson Avenue, Bushwick, Brooklyn, through September 18.

 

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Blockbusting the West Side

NEW YORK DAILY NEWS
August 22, 2011

Blockbusting the West Side
by James Panero

How 'supportive housing' doesn't help anyone

In the 1950s and 1960s, the practice of "blockbusting" became commonplace. Speculators depressed housing prices by scaring away white middle-class residents. Then they resold the properties to black homebuyers at artificially inflated prices, often resulting in default and further devaluation.

Today the practice of blockbusting continues, except now it's largely minority renters that the investors want out. The new buyers are us, the taxpayers, underwriting the supportive housing industry.

Government agencies pay supportive-housing profiteers far above market rate for buildings they convert from normal rentals to taxpayer-subsidized housing for the mentally ill. For each "special-needs" tenant their facilities house, investors can collect more than $3,000 a month. Protected by rent stabilization, existing residents, who might only pay $500 a month for the same unit, often stand in the way of maximum profits. So investors use the threat of the incoming population to scare them off.

In the case of St. Louis Hall, a six-story residence on W. 94th St., supportive-housing developers known as Lantern Organization and its for-profit wing, the Lantern Management Group, have a blockbuster at their disposal called "NY/NY III." In 2005, Mayor Bloomberg and then-Gov. George Pataki started this initiative to house the city's most high-risk group of homeless single adults, with problems ranging from persistent mental illness and chemical addiction to HIV/AIDS. While pursuing a noble goal, the champions of NY/NY III failed to anticipate how supportive-housing speculators would use NY/NY III as a weapon to intimidate existing residents.

"To scare the Hispanic tenants, they had someone yelling immigration. They distributed flyers saying they are bringing in a population with AIDS, " says Aaron Biller, president of Neighborhood in the Nineties, of Lantern. Biller's organization, which sees a disproportionate number of supportive housing facilities on the upper West Side, litigated against Lantern's plans for St. Louis Hall since first proposed five years ago. Earlier this year, the group successfully opposed the conversion of the Alexander, a neighboring building, into a homeless shelter.

"They are putting them here because Gale Brewer and company think it's okay," Biller says of his City Council representatives. "It's classism and racism on the part of high-minded individuals. The community is set up for failure with a devastating population. And nothing clears a building faster. They are driving people out and have a huge economic incentive to do it." That's bad news for longtime residents. It's not good for the troubled populations that come in, either, as they require greater supervision than these facilities provide.

But the practice is rewarding to the developers. In 2008, CBS News conducted an investigation into Lantern that the organization "took millions of dollars from the city to provide clean, safe and affordable housing for the mentally ill, recovering drug addicts and others in need," but put them "in deplorable conditions." At the St. Louis, CBS reported "deteriorating conditions under Lantern's ownership," including longtime residents who were now sharing rooms "with rats, mice, roaches, bedbugs and ...dangerously toxic black mold." When the station tracked down Lantern's president, Eric Galloway, at his 6,000-square-foot mansion in upstate Hudson, he refused to comment.

How these developers reap their profits has much to do with the close relationship between the supportive housing industry and the government agencies that fund them. Before joining Lantern as executive director, Jessica Katz worked at New York City's Department of Housing Preservation and Development. At HPD, according to Lantern's website, Katz was "responsible for an annual Supportive Housing pipeline worth over $100 million." More than $15 million of that went to Lantern as an interest-free loan.

But the residents of the St. Louis are digging in. "The Lantern Group feels that they can bully and intimidate someone until they can leave," says Robert Atkins, a musician who has lived at the St. Louis for five years and now fights to keep his home. "If this were a building with a predominantly white population, they wouldn't try to get away with this.

"You want to know how shady these people are? I refused to move. So all of a sudden there is a massive flood. They caused a flood in my room of feces and urine, which destroyed my guitars. It smelled atrocious, so I couldn't stay here."

Still, Atkins keeps fighting. "This whole affordable housing thing is a hoax. It's not affordable to the taxpayer. It's not affordable to the poor. The only people who are making out on it are doing so at the taxpayers' expense. The neighbors lose and the neighborhood loses."

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