developmental disabilities jocelyn vega

BY JOCELYN VEGA

Back in February, everyone at Project Onward’s studio shifted from their workstations and huddled for a group meeting to discuss the novel coronavirus possibly appearing in the United States. Then, the details of COVID-19 were highly unknown, but the disability arts organization’s artists and staff tried to address the uncertainty of what might come.

Some artists, wishing for the best, hoped that the Bridgeport studio, open for sixteen years, wouldn’t shut down, even if the artists had access to materials at home. Half a year later, the studio’s workstations have long been still, but its artistic capacity is far from that.

As a studio and gallery space, Project Onward’s mission is to support the emotional wellbeing and growth of professional artists with developmental disabilities and mental health needs, through free artist-in-residence and art entrepreneurship programs. Project Onward not only addresses professional barriers its often marginalized members face to work in artistic fields, but it also removes cost barriers for artists who are low income. Each member artist is given studio access with gallery space, art supplies to maintain their unique portfolios, and individualized mentorship. With what Project Onward describes as their “visual voice[s],” member artists are destigmatizing mental illness and developmental disabilities—and during a global pandemic, they are also building an online community by developing programming to approach and reflect with artists.

With a staff of five, this nonprofit has kept going to support its fifty artists. The studio has curated several online exhibitions, events, and weekly artist highlights while navigating the stress of keeping their virtual doors open. Project Onward transitioned from global uncertainty to microconsistency by centering artists’ presence and the connections between art and life in virtual spaces.

"COVID-19", BY ALLEN MCNAIR, COURTESY OF PROJECT ONWARD

In the introduction to its current “Cause and Affect” exhibition, the studio stated, “Project Onward has a distinct relationship to the events of 2020. The neurodiverse nature of our artist community greatly impacts their perceptions of and responses to national and global crises....Our artists have chosen to document and comment on both the extremity of what has passed this year and what they hope the rest of the year can bring.”

“[There is a] love to make artwork and the need to make artwork and to show people how talented these artists are.... Their work is just as great as anything on the commercial level of art today or fine arts in Chicago,” said Robyn Jablonski, Project Onward’s studio manager for the past nine years.

When visiting the studio before COVID-19, you could see workstations or “cubbies” that mirrored each artist’s unique and contrasting styles, like Elizabeth Barren’s glamorous mixed media and Blake Lenoir’s zigzagged color pencils on their desks. There was Sereno Wilson pouring cascading amounts of green glitter, and Fernando Ramirez holding sharp eye contact with his ongoing piece, and Julius Bautista painting in an electric realist style. You might also have met Ryan Tepich in the kitchen; Safiya Hameed, known as the “Princess of Project Onward”; or Franklin Armstrong, described as “our news man” for his penchant for sharing the daily news, walking along the busy studio space. Together, the artists were tracing knowledge through artistic windows connecting their world to others. From the compassionate exchange of ideas between artists asking for advice from their studio neighbors to laughter from conversations, Project Onward’s not just facilitating the production of art—it’s also building a community.

Many of the artists are self-taught, and they have come to Project Onward from a multitude of lived experiences. Before joining Project Onward in 2008, Tony Davis sold drawings outside Union Station that interpreted “his own life” in the Chicago Housing Authority’s ABLA Homes development on the West Side. Some artists have known each other their entire lives, like the Juguilon brothers, or grammar school best friends David Holt and Jackie Cousins Oliva.

Many artists have also maintained a partnership/life journey with art that started in their youth, as a way of processing their experiences. “I started drawing because I didn’t know how to say what I thought. I was only three years old, and the blue ink pen was the only thing I could find after a traumatic event,” said Keturah Lynn in her artist bio.

David Hence said, “I don't mind sharing my sketchbook because I think it’s my way to express myself....It helps me be in the moment.”

Other artists, like Paul Kowalewski and Allen McNair, describe art as more like its own being, composed from their thoughts or dreams. “I’ll start something, and it won’t necessarily end up the way I was thinking. It takes on a life of its own,” said Kowalewski.

As a community, Project Onward reinforces an artist’s individual affinities and helps them have collective impact. The artists’ backgrounds and studio relationships work together to encourage passionate direction in affirming bold paths.

Art made by artists with minimal or no training is often labeled as “outsider art” due to its distance from the mainstream art world and its institutions. As a term, “outsider artist” is understood as positively reflecting an individual with multifaceted potential but without formal artistic training. But this term also risks marginalizing artists who lack institutional privilege. Project Onward artists navigate this tension as both an opportunity to address exclusion and to expand distinction.

“Project Onward looks to question, if not always answer, and challenge what

the next step in this genre of art will be moving forward. We mean to open a visual dialogue with the viewer in hopes that more questions and curiosity about these forms of art emerge,” said Project Onward Executive Director Nancy Gomez at the nonprofit’s “Outsider Connections” virtual panel discussion in June.

Artists are not waiting for an external answer. Many are leading their own outsider art narratives through their work—most envisioning possibilities by looking inward during the global pandemic. In Project Onward’s weekly “Artists at Home” interview program (started during the pandemic), many have talked about their individual perspectives. In his interview, Dijon Barrett described a current unfinished piece as imagining “what’s going to happen after the pandemic”; artist Luke Shemroske similarly talked about how his “Virus in the street” piece highlights how artists are uniquely witnessing the pandemic in their own lives.

“Sometimes, in some pieces, I’m just working things out, for myself...and to allow other people to have a glimpse into how some of those things feel for me and for people in similar situations,” said Cheryelle Booker during her artist interview.

Project Onward artists like Barrett, Shemroske, and Booker are expanding artistic recognition for neurodiversity. They do so across artistic realms and through worlds that orbit each other to collectively shape a universe of meanings and possibilities.

In “Cause and Affect,” the artists provided a portal to cross virtual bridges to “still question, hope, believe and fight for a more just, peaceful, and healing nation and world.” Paintings range from “Christopher Columbus Takedown” by Janno Juguilon, to Molly McGrath’s self-portrait “Trying to Fight Covid-19” and Alfred Banks’s “Black Girls Rock,” reflecting struggles and transformations.

In this and earlier online exhibitions, one can see the extent of Project Onward’s engagement and creativity in these past months alone. “Repeat Repeat Repeat” explored the spectrum of responses to repetition as either a meditative process to create predictable outcomes or as an “act of compulsion”; “Wild and Beautiful” asked audiences sheltering at home to imagine “things beyond our four walls.”

“We should appreciate those other points of view or other visions of the world, especially as far as the aesthetic of the artwork. Nothing has to fit a particular mold,” said Jablonski.

Despite success and growth, challenges remain for Project Onward; a particular concern has been how to stay connected with artists during the pandemic despite the digital divide for communities with developmental disabilities. “No wifi. No Internet. No smartphone,” said artist Ricky Willis during a recent interview with NBC 5 Chicago. For Michael Hopkins, his difficulty is not simply missing tools but lacking the familiarity to use the ones he has. In the NBC story, when asked about his computer, he said, “I don’t know how to work it, no way.” Currently, Project Onward hopes to distribute technology to more of its artists through an arrangement with Apple.

As Project Onward works to support artists without access to technology, they are also addressing social isolation. In July, the team started weekly group calls where, as staff said in a Facebook post, “Everyone was so happy and excited to see each other’s face and catch up.”

The overnight switch to remote programming symbolically marks Project Onward’s second location change as an organization after moving out of its original location and into Bridgeport Art Center during 2013.

To prepare for this physical relocation, Jablonski joined Project Onward to support artists to adjust to this new environment and help artists who experienced additional challenges. Her background in behavioral health supported relationship building through mutual understanding and supportive environments for the past seven years. Now as then, as an organization, supportive relationships and a safe environment have kept Project Onward going during uncertainty.

“It’s funny because you're not just in a straight path, going forward all the time, right?” Jablonski said in February. “It’s called Project Onward, but you’re not going in a straight path....it’s change you cannot predict.”

Now, in 2020, Project Onward is working with artists within their homes to craft a new beginning from years of strong foundations. And the participating artists continue to creatively interpret the overwhelming disorientation of the past six months to build their artistic worlds.

The full list of Project Onward’s artists and their biographies are available on Project Onward’s website. Artworks are also available to purchase to support artists and maintain high-quality art supplies. For more on Project Onward, such as donating, volunteering, or purchasing artwork, please visit projectonward.org. ¬

Jocelyn Vega is a first-generation Latina. She is a contributing editor at the Weekly and last wrote about the Chicago Coalition for the Homeless’s census advocacy.

BY JOSÉ ACOSTA-CÓRDOVA

On April 11, 2020, Hilco Redevelopment Partners and its contractors botched the implosion of a smokestack at the former Crawford Coal Plant, sending a cloud of volatile dust into the sky that settled on hundreds of homes and backyards in the Little Village community. Th is was alarming to many community members, elected offi cials, and city agencies, who were shocked to see the negligence unfold before their eyes. Hilco’s proposed development should never have been approved in the fi rst place. Little Village residents organized for more than twelve years to shut down the coal plant, and did so successfully with local and national support, envisioning a future of community-building, educational, and job training space in its place. So why did the City of Chicago hijack this project against the established wishes of residents and organizers?

Little Village has historically been an industrial neighborhood due to its location along the Sanitary and Ship Canal. Th e canal replaced the Illinois and Michigan Canal in 1900, and was built for two main purposes: 1. to allow the reversal of the Chicago River and to move sewage runoff away from Lake Michigan, the city’s main source of drinking water; and 2. to move barges and ships from Lake Michigan to the Mississippi River.

Over the twentieth century, heavy industry was developed along the banks of the canal in order to capitalize on the access to water and adjacent railroads. Currently situated near the canal are oil and gas facilities, asphalt plants, construction companies, waste management facilities, industrial packaging and container manufacturing, and Trucking, Distribution, and Logistics (TDL) facilities. Th ese industries all contribute signifi cantly to the poor air quality in Little Village and surrounding neighborhoods. Although it connects to the Chicago River, it is a human-made industrial canal with severely polluted water.

For over a decade, the Little Village Environmental Justice Organization (LVEJO) has advocated for a Just Transition—meaning a transition away from a fossil-fuel extractive-based economy to a regenerative-based economy—to happen at the seventy-two-acre site of the former Crawford coal plant. Referred to as “cloud factories” by youth who tried to describe the pollution, the plant’s smokestacks fi lled the skies of Little Village with toxic emissions for generations, while coal dust settled onto houses and school grounds. Residents of all ages were suff ering high rates of asthma, bronchitis, and many other respiratory illnesses. A Harvard study conducted in 2001 linked more than fortyone premature deaths, 550 emergency room visits, and 2,800 asthma attacks every year with toxic emissions from Crawford as well as Fisk Coal Plant in neighboring Pilsen—with children being the most vulnerable to exposure. LVEJO and our allies successfully shut down both plants. It was our most signifi cant accomplishment of environmental justice.

Following the shut down, a Crawford Reuse Task Force was formed to consider strategies to reuse both sites. Th e task force consisted of three heads of local organizations, one member from Midwest Generation (owners and operators of Crawford), two former aldermen, one labor representative, one ComEd representative, and one economic development representative from City Hall, and was facilitated by the Delta Institute, a local nonprofi t that works on solving “complex environmental challenges.” Per the fi nal report, “Residents have participated in numerous workshops, surveys and visioning exercises regarding the sites. From these, several themes emerged, including the desire for a clean environment, sustainability of the neighborhood, aff ordability, local education and jobs.”

Th e community was hopeful that engagement would be ongoing, and that any

future developer would be realistic, provide transparent updates, and remain accountable. But Hilco’s acquisition of the site has always lacked transparency. Th e developer purchased the property in December 2017 for $12.25 million in a backroom deal that occurred during the tenure of then-Mayor Rahm Emanuel, who received $135,900 in political contributions from Hilco CEO Jeff rey Hecktman, then-22nd Ward Alderman Ricardo Muñoz (who received $3,000), and then-commissioner of the Department of Planning and Development (DPD), David Reifman.

In August 2018, Hilco held two community meetings, in which residents expressed concerns or outright rejected their plan. At both meetings, Hilco claimed they were doing the community a favor by demolishing the coal plant, remediating the site, and constructing a massive warehouse that they claim will bring an estimated 178 permanent jobs once completed. Even when they heard the community’s pleas that we had too many semi-trucks driving through our residential streets, and that our air quality was among the worst in the state, they did not care to listen. Th e rezoning was pushed by Muñoz through the Chicago Plan Commission and the City Council the very next month.

During those community meetings, representatives of the multi-billion dollar corporation said they would not be seeking public funding. Yet, in January 2019, they

were appearing before the City Council’s Committee on Economic, Capital and Technology Development, to request the Cook County Class 6b tax break, which would reward them with $19.7 million over a twelve-year period. Th ey bought the property for less than that. Once again, LVEJO and residents testifi ed against the plan during public comment, while Muñoz used his aldermanic prerogative to force it through.

Th roughout meetings of the Chicago Plan Commission, City Council, and City Council committees, Hilco had the support of the Little Village Chamber of Commerce and local businesses that are owned by the family of Eve Rodriguez, who both serves on the Chamber board and does public relations consulting for Hilco. In an attempt to buy more support, Hilco has hosted shoe giveaways and created two $10,000 scholarships for City Colleges of Chicago. (Currently CPS students can attend City Colleges for free as long as they meet certain requirements.) Th ey have also sent out promotional mailers and put ads on Mexican radio.

Th e coal plant operated from 1924 to 2012 and was one of the dirtiest in the country when it closed, making remediation of the land both delicate and dangerous. Hilco promised to inform the community throughout the remediation and demolition process. Th ey created a website, but did minimal outreach to inform nearby

households of efforts to remove toxic elements from the building or from the soil.

In December 2019, Reynaldo Grimaldo, 54, a worker who was also a Little Village resident, fell fifty feet from an elevated platform at the site, and died.

When it came time to demolish the smokestack, the City of Chicago’s Department of Buildings was negligent in approving the demolition permits, while Mayor Lori Lightfoot and the Department of Public Health failed to halt the demolition despite having been warned of the potential health risks it posed in the middle of a respiratory pandemic. Current 22nd Ward Alderman Mike Rodriguez inherited the project and knew about the scheduled implosion more than a week before the community was alerted. Yet officials kept the community in the dark about their plans.

On April 11, Hilco and their contractors failed to use the proper precautions: they used explosives to implode the centuryold smokestack and did not have enough water cannons to spray down the mushroom cloud of dust and debris. Multiple news outlets showed footage of the aftermath captured by the residents themselves. A day after the implosion, 78-year-old Fernando Cantú passed away after he had tended to his garden. He lived a few blocks away from Crawford, and his immune system was compromised due to issues with asthma and COPD; it is possible that the toxic particulate matter aggravated his respiratory system.

Mayor Lightfoot placed the blame on Hilco, issued a temporary stop work order, and fined them $68,000. Hilco responded by washing home and automobile windows near the site and passing out masks in the surrounding blocks. But following a citysponsored virtual community meeting hosted by the commissioner of the Department of Buildings, Judith Frydland, Hilco was given the green light to proceed with the demolition of the rest of the coal plant, currently underway. Shortly after that meeting, Frydland retired.

The Hilco project will bring thousands of semi-trucks daily to an area that already disproportionately experiences heavy transportation traffic compared to the rest of the city. Overall, there are more than thirty companies in the Little Village Industrial Corridor (LVIC) that are either classified as TDL or that use semi-trucks on site. These trucks are powered by diesel and release particulate matter 2.5 and 10 into the air, which can have a devastating impact on the immediate and long-term health of people who inhale these particles. The resulting truck traffic is not only hazardous to other automobiles, pedestrians, and cyclists, but also to the overall environmental health of Little Village, which already has the secondworst air quality in the state of Illinois. Bringing thousands of more semi-trucks into the area will only further exacerbate this issue.

In nearly three years, Hilco has never shown a genuine attempt at caring about the neighborhood. Why should we believe this will ever change? Hilco has not been able to guarantee a number or the quality of jobs that the site would offer locals, due to the fact that they will be leasing the warehouse to someone else to operate it as an e-commerce warehouse. Most warehouses in Chicago hire people through staffing agencies, also known as “temp agencies,” which have been known to exploit both undocumented immigrant and Black workers. Those same warehouses don’t pay their employees living wages or provide them with medical benefits. How will these jobs provide people the opportunity to move up or build wealth? This is not economic development that will be beneficial in the long term.

The community already had a plan for the site when Hilco purchased the property, one that did not include a warehouse. In 2018, LVEJO created renderings based on what the community said they would like to see at the site. This included a huge greenhouse for large-scale indoor farming, which could provide organic produce to local grocery stores and the roughly 160 restaurants in the neighborhood; a food vendor hub, which would serve as a food business incubator for street vendors in the community, who make up sixty percent of all vendors in the city; and a large solar farm, which could produce up to fourteen MW of energy annually, which could power 2,660 homes, and would link to the Future Energy Jobs Act (FEJA) and Solar For All state programs, which create access to job training and clean energy jobs in lowincome communities.

These are the types of projects that would transform land use in the Little Village Industrial Corridor, potentially bringing thousands of jobs and wealthbuilding opportunities to the community, while also bringing environmental justice to a neighborhood that has long suffered from environmental racism. Given the fact that the Crawford site is located within the Little Village Industrial Corridor, at 1,252.2 acres is the third-largest in the city, we have a great opportunity to invest in industries that don’t further exacerbate environmental issues or exploit workers.

The City of Chicago should not be giving tax subsidies to developers who only look to exploit our labor force, but to developments that will truly engage and benefit our communities. We don’t need a one-million-square-foot warehouse that will continue to poison our community. Little Village, like countless communities across the planet, needs a Just Transition. This is fundamentally about disinvesting in industries that are fossil-fuel based, and investing in industries that use renewable energies or alternative methods of production that don’t exploit natural resources. If the largest economies in the world refuse to stop using fossil fuels, we may face a climate catastrophe. But Little Village, and Chicago as a whole, can still be a model for other major cities, especially those with a large industrial sector. These are the developments that Little Village, along with every working class neighborhood in the city deserves. ¬

José Acosta-Córdova is a research organizer at the Little Village Environmental Justice Organization (LVEJO). He completed his Master’s degree in Urban Planning and Policy at UIC and is a first year Ph.D. student at the University of Illinois at Urbana-Champaign studying issues related to transportation and environmental justice. This is his first piece for the Weekly.

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Lead support for Monet and Chicago is generously contributed by THE KENNETH C. GRIFFIN CHARITABLE FUND

Lead Corporate Sponsors Major funding is provided by Lesley and Janice Lederer, the Shure Charitable Trust, Richard F. and Christine F. Karger, Mark and Charlene Novak, and Margot Levin Schiff and the Harold Schiff Foundation. Additional support is contributed by the Alice M. LaPert Fund for French Impressionism, Alison R. Barker in honor of Ruth Stark Randolph, the Kemper Educational and Charitable Fund, the Rose L. and Sidney N. Shure Endowment, Gail Elden, and Michelle Lozins. Members of the Exhibitions Trust provide annual leadership support for the museum’s operations, including exhibition development, conservation and collection care, and educational programming. The Exhibitions Trust includes an anonymous donor; Neil Bluhm and the Bluhm Family Charitable Foundation; Jay Franke and David Herro; Karen Gray-Krehbiel and John Krehbiel, Jr.; Kenneth C. Griffin; Caryn and King Harris, The Harris Family Foundation; Josef and Margot Lakonishok; Robert M. and Diane v.S. Levy; Ann and Samuel M. Mencoff; Sylvia Neil and Dan Fischel; Anne and Chris Reyes; Cari and Michael J. Sacks; and the Earl and Brenda Shapiro Foundation. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Claude Monet. Houses of Parliament, London (detail), 1906. The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection.