DC -- Edison Place Gallery -- Exhibit: Joe Bonham Project:
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Description of Pictures: The Joe Bonham Project
November 11-30, 2012
The Joe Bonham Project is a cooperative venture of the Society of Illustrators and the International Society of War Artists. The exhibition features fifteen artists, ranging from seasoned combat artists and well known illustrators for major publications to college students. All have dedicated their skills to recording the faces and experiences of battle-wounded veterans of the wars in Iraq and Afghanistan.
The stark, intimate sketches have earned The Joe Bonham Project critical acclaim and recognition in The New York Times, the National Endowment for the Arts Magazine, CBS Evening News, the National Review, and the BBC. The Joe Bonham Project is named for the tragic hero of Dalton Trumbo's WWI novel Johnny Got His Gun. "My father would have been humbled and touched by what you and your fellow artists have done and are continuing to do, telling the stories of all the Joe Bonhams," says Trumbo's daughter, Mitzi Trumbo./p>
In the Sunday New York Times on May 25, 2012 Carol Kino quotes Brandon Fortune, curator of painting and sculpture at Smithsonian's National Portrait Gallery, on The Joe Bonham Project saying "[she] credits the group with 'creating a new form [of art] by bridging the world of combat illustration and fine art portraiture' in a way that might not have been possible in the past."
While I was viewing the gallery, the exhibit organizer Michael Fay came in with Peter Wood, one of the speakers from the Smithsonian American Art Museum's Effects of the Civil War on American Art Symposium.
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BONHAM_121116_008.JPG: The Joe Bonham Project:
As the Global War on Terror enters its second decade, service members are surviving the most catastrophic wounds imaginable. Yet even as medical science continues to advance vance [sic] to address ever more devastating injuries, our nation seems to want to forget the new generation of 'Joe Bonhams.'
In February 2011, a group of American, Canadian, and Australian artists began documenting the experiences of service members going through stateside medical treatment through art, working primarily at in-patient surgical shock-trauma wards, these artists spend time with some of the most physically battle damaged soldiers, sailors, and Marines. Many of the subjects are patients mere weeks away from being injured in IED blasts and fire fights in Afghanistan. Most have endured multiple traumatic amputation injuries and disfiguring facial wounds, and will endure months of operations and challenging physical therapy. With them on this journey back to wholeness are often equally traumatized family members. All have volunteered to be sketched.
Several of The Joe Bonham Project artists are seasoned war artists: Michael Fay, Richard Johnson, Steve Mumford, Kristopher Battles, Victor Juhasz, Roman Genn, and Robert Bates have each embedded with US combat units in both Iraq and Afghanistan in order to create art. Others, like Jeffrey Fisher, Fred Harper, Jeff Ruliffson, Ray Alma, Bill Harris, and Josh Korenblat, have friends and family who have, or are currently serving in the armed forces.
The Joe Bonham Project will keep the dedication, sacrifices and indomitable spirit of our wounded warriors present and accounted for.
BONHAM_121116_077.JPG: Origin of the Joe Bonham Project:
In August of 2006, then Warrant Officer Michael D. Day had been home from his fourth tour as a combat artist for the Marines for five months. A new artist, Sergeant Kristopher J. Battles, had just come onboard and was slated to go to Iraq in a matter of weeks. Fay decided that a good way for the two artists to get to know each other was to do a joint "embed" of sorts -- to visit with and sketch Marines recuperating from wounds at the then separate Walter Reed Medical Center and National Naval Medical Center. The pieces they would create would form the basic idea for what would become The Joe Bonham Project in 2011. During their few days drawing in both the in-patient shock trauma surgical wards and occupational therapy clinics, Fay and Battles experienced the raw emotional availability of these service members, their inner resolve, and the therapeutic impact of bringing art into their recovery process.
BONHAM_121116_139.JPG: Several pieces by Rob Bates follow
BONHAM_121116_173.JPG: By Bill Harris
BONHAM_121116_195.JPG: Marine Corps Combat Art Collection:
The Marine Corps' tradition of capturing the experiences of its service members extends back unofficially to WWI and officially to WWII. From his experiences leading Marines in combat against the Germans in France, John W. Thomason, Jr. illustrated and penned a war memoir, Fix Bayonets! During WWII the Marines instituted a formal combat art program under the guidance and vision of Brigadier General Robert Demig. His orders to the combat artists were simple and to the point -- "Go to war, do art." Today the Marine Corps Combat Art Collection and Program is managed by the National Museum of the Marine Corps. The Marine's art collection contains well over 8,000 works of original art across a broad spectrum of mediums. Among the collection are works by both official and unofficial combat artists. The public, academics, and arts writers have all marveled at the depth of the collection and the intimate, often deeply psychological perspective, the art of the Marines portrays. Among the art in the collection, are images of Marines recovering from battle-wounds.
In 1942, John Everette Smith graduated from high school in Pottstown, Pennsylvania and started attending classes at the Museum School of Art in Philadelphia. By the end of 1943, Smith was a Marine private headed towards the South Pacific and combat. Everette was severely wounded by a burst of shrapnel 47 days after landing on Okinawa in 1945. For a time it looked like he might lose his shattered right arm, but US Navy surgeons were able to save it. He would spend two long years recovering from his wounds -- much of the time was devoted to transferring his artistic skills from the now impaired right hand to his left. To this end, Smith spent long hours patiently training his left hand by sketching fellow patients. One of his techniques in regaining control was to graph the drawing surface. In 1950 he finally graduated from the Museum School with a degree in art education. Smith would spend his professional life as an elementary art teacher in Pennsylvania.
Charles G. Grow served in the Marines as a combat camera officer and as an official combat artist. Today Grow is the deputy director of the National Museum of the Marine Corps. As a combat artist he deployed to Somalia, Haiti, Operations Desert Storm and Shield, and Operation Enduring Freedom. From the mean streets of Mogadishu to the mountains of Afghanistan, Grow has captured the life and faces of fellow Marines. In 2010 he extended his artistic coverage to creating images of recovering Marines at the Veterans Administration Medical Center in Tampa, Florida.
BONHAM_121116_203.JPG: The next several pieces are by Michael Fay
BONHAM_121116_248.JPG: The next several pieces are by Victor Juhasz
BONHAM_121116_296.JPG: The next items are from Michael Fay again
BONHAM_121116_365.JPG: The next several are from Ray Alma
BONHAM_121116_390.JPG: The next several are by Roman Genn
BONHAM_121116_482.JPG: Richard Johnson pieces
BONHAM_121116_502.JPG: The next several are by Jess Ruliffson
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2012 photos: Equipment this year: My mainstays were the Fuji S100fs, Nikon D7000, and the new Fuji X-S1. I also used an underwater Fuji XP50 and a Nikon D600. The first three cameras all broke this year and had to be repaired.
Trips this year:
three Civil War Trust conferences (Shepherdstown, WV, Richmond, VA, and Williamsburg, VA),
a week-long family reunion cruise of the Caribbean,
another week-long family reunion in the Wisconsin Dells (with lots of in-transit time in Ohio and Indiana), and
my 7th consecutive San Diego Comic-Con trip (including side trips to Zion, Bryce, the Grand Canyon, etc).
Ego strokes: I had a picture of Miss DC, Ashley Boalch, published in the Washington Post. I had a photograph of the George Segal San Francisco Holocaust memorial used as the cover of Quebec Francais (issue 165). Not being able to read French, I'm not entirely sure what the article is about but, hey! And I guess what could be considered to be a positive thing, my site is now established enough that spammers have noticed it and I had to block 17,000 file description postings for Viagra and whatever else..
Number of photos taken this year: just below 410,000.
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