It is time to apply the standard of patriotism to the U.S. multinational corporations and demand that they pledge allegiance to the United States and “the Republic for which is stands … with liberty and justice for all.” This July 4 would be good day for Americans to demand such a corporate commitment. Born and chartered in the United States, these corporations rose to their giant size on the backs of American workers and vast taxpayer-subsidized research and development handouts. When they got into trouble, whether through mismanagement or corruption, these companies rushed to Washington, D.C., for bailouts from American taxpayers. When some were challenged in foreign lands, the U.S. Marines came to their rescue, as depicted decades ago by two-time Congressional Medal of Honor winner Marine Gen. Smedley Butler.So what is their message to America and its workers now? It is not gratitude or loyalty. It is “we’re outta here, with your jobs and industries” to dictatorial or oligarchic regimes abroad, such as China, that know how to keep their impoverished and abused workers under control.Note that these company bosses have no compunction replacing U.S. workers with serf-labor, but they never replace themselves with bi-lingual executives from China, India and elsewhere who are willing to work for one-tenth or less of the huge pay packages executives get from their rubber-stamp boards of directors in the United States.Just this week, the Wall Street Journal headlined “Big U.S. Firms Shift Hiring Abroad.” Veteran reporter David Wessel writes:“U.S. multinational corporations, the big brand-name companies that employ a fifth of all American workers, have been hiring abroad while cutting back at home, sharpening the debate over globalization’s effect on the U.S. economy. The companies cut their work forces in the U.S. by 2.9 million during the 2000s while increasing employment overseas by 2.4 million, new data from the U.S. Commerce Department show.”While Mr. Wessel acknowledges that other economies, especially in Asia, are growing rapidly, he noted that “The data also underscore the vulnerability of the U.S. economy, particularly at a time when unemployment is high and wages aren’t increasing.”Keep in mind that, while receiving all the public services, subsidies and protections in this country, large corporations have been abandoning America by shifting jobs overseas and by making our country perilously and unnecessarily dependent on foreign governments that naturally put their own interests first.For example, the drug companies no longer have any plant in the U.S. to manufacture essential raw ingredients for important antibiotics like penicillin. In 2004, Bristol-Myers Squibb closed the last such factory in East Syracuse, N.Y. The drug industry always made lots of money here. One of every two Americans are on a prescription medicine. But the pharmaceutical companies want to make more so they have moved their production to Asia.In 2009, The New York Times reported that “the critical ingredients for most antibiotics are now made almost exclusively in China and India. The same is true for dozens of other crucial medicines, including the popular allergy medicine prednisone; metformin, for diabetes; and amlodipine, for high blood pressure.”This flight to Asia raises serious questions. Sen. Sherrod Brown (D-Ohio) held hearings because he accurately believed that “the lack of regulation around outsourcing is a blind spot that leaves room for supply disruptions, counterfeit medicines, even bioterrorism.” Industrial-scale production of Penicillin was developed by the U.S. war production board in World War II, and many drug companies made it in U.S. plants, until the Chinese government lured the industry there with many freebies and weak safety regulations. A few years ago, 95 Americans died from a Chinese-produced counterfeit ingredient in the drug heparin, an anticlotting drug needed for surgery and dialysis.As Belgium drug industry consultant Enrico Polastro told The New York Times: “If China ever got very upset with President Obama, it could be a big problem.” The Times concluded: “So for now, like it or not, China has the upper hand.”Other unpatriotic acts include the oil companies who, despite being given a rich oil depletion tax allowance to invest in energy in the United States, invested in oil production overseas. The United States is now dependent on foreign sources for most of its petroleum. U.S. multinationals that export jobs abroad show too little regard for our country or to the U.S. communities that sustained them for decades. Greedy corporate lobbyists continue to press for more privileges and immunities, over those held by real humans, so as to be less accountable under U.S. law for corporate crimes and other mis-behaviors.If U.S. companies continue to expand their rights of personhood through U.S. Supreme Court’s political decisions (e.g., the latest being the notorious 5- 4 Citizens United case opening up the floodgates of corporate cash against or for electoral candidates), then they should be judged as “persons” and evaluated for their loyalty to their country of creation. Since corporations are clearly “artificial” entities and not real human beings, narrower civil liberties standards can be applied to the impersonal and massive concentrations of power, capital and technology known as corporationsIndependence Day, July 4, presents an opportunity for a national attention to the need for calling out these runaway corporate giants who exploit for profit the patriotic sensibilities of Americans, but decline to be held any patriotic expectations or values.Readers interested in joining such an effort for July 4 may contact info@csrl.org. Consumer advocate and former presidential candidate Ralph Nader grew up in Winsted and is a graduate of The Gilbert School.
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Textile designer Justine Valla sits in her father’s chair, which she painted, alongside her husband, illustrator and muralist Victor Valla, in their Atelier Valla studio.
“I was always drawing as a child,” Justine recalled. Victor dreamed of illustrating magazine covers like those of the “Saturday Evening Post.”
Victor studied design and illustration at Rochester Institute of Technology, then received a fellowship to study painting and printmaking at the University of Illinois at Urbana-Champaigne. He graduated in 1967. The following year, he received a grant from the Tiffany Foundation to study printmaking in Paris at Atelier 17, an experimental graphic arts workshop founded in 1927.
“What a great experience that was!” he recalled.
Returning home after the Paris uprisings of 1968, he discovered that the magazine covers he’d hoped to paint had largely given way to photography. His agent suggested trying record covers, which he pursued along with illustration and graphic design.
He also began teaching at Kean University in New Jersey.
“Kean had a wonderful graphic design and illustration department. I loved teaching Graphic Design, even though I never thought I would.”
He later taught at Syracuse University and Pennsylvania College of Art and Design.
In the late 1980s, he decided to stop teaching and concentrate on his own art. He moved to Falls Village, to a house on the corner of Minor and Prospect Streets.
“I used to call the studio ‘Minor Prospects Atelier,’” he said.
He continued working in illustration and graphic design, creating book covers for stories by H.P. Lovecraft and other authors, along with magazine covers, logos, advertising and murals.
Justine and Victor Valla in their studio with a painting of Victor’s,”Jonah and the Whale.” Robin Roraback
His local commissions include the green and gold Noble Horizons signage and wall murals for the Stockbridge Inn, the Spa at Norwich Inn, Orchards Hotel in Williamstown and the David M. Hunt Library’s children’s section.
Justine grew up in the Bronx and studied at the Fashion Institute of Technology. After graduating, she took on whatever work she could find, including designing toys and novelty items for Russ Berrie. But her true calling was textile design.
She moved to Los Angeles to pursue that calling, where she learned silkscreen printing from 1960s design icon Corita Kent.
“I was in her program at Immaculate Heart College. All fabric design at that time was silk screen. My first job in textile design was in L.A., creating wallpaper for Bob Mitchell Design.”
Justine returned to New York City, where the advent of computers required her to learn new design techniques. She enrolled at Parsons School of Design, studying Photoshop, Illustrator, Lectra U4ia and Kaledo.
Around this time, she met Victor online and moved to Falls Village.
A recruiter found her a job in Arkansas at Dillard’s, a department store chain operating in 30 states and known for its exclusive designer collections.
“They had the best equipment I’d ever seen,” she said.
She became a senior computer-aided design designer there, designing fabric and preparing purchased designs for production.
The Vallas left Falls Village for Little Rock.
“It was a big move,” she said. “It was a different culture, but Little Rock was very progressive.”
The originally planned to stay in Arkansas for five years but ended up remaining for nearly 10.
Then Justine was hit by a car. She suffered injuries to her leg and head and required four years of rehabilitation.
“I lost the ability to paint after the accident. I struggled to paint again.”
The Vallas returned to Connecticut, this time settling in Salisbury, where they’ve lived since 2013.
After leaving Dillard’s, Justine had planned to sell her work through Printsource in New York City, an international showcase for surface and textile design. But after the accident, she no longer had the mobility or energy to travel back and forth to the city.
Instead, she began selling her work locally at craft shows, including clothing, hand-printed tea towels and floorcloths.
She is currently working on selling her collection of textile designs.
In December, Justine will have a show of her tea-themed watercolors at the NorthEast-Millerton Library.
Victor recently exhibited “The American West: A Pictural History” at the NorthEast-Millerton Library. The series, created in the early 1990s, was part of a commission from the Postal Commemorative Society for which he completed 100 paintings in two years.
He hopes to place the series in a museum and has created books from its images, complete with text. Over the years, he has designed many other books that are ready for publication, including “Looking In, Looking Out,” a cosmic view of the universe.
Reflecting on his career, Victor said, “It’s about doing what you love”.
Justine agreed.
To see, purchase or commission work, contact Justine at justinevalla@gmail.com or Victor at victorvalla@comcast.net, or call 860-596-4282.
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Jane Herold’s beautifully simple dinnerware.
Cornwall ceramicist Jane Herold explained that there’s quite a lot of enthusiasm for Clay Way among the region’s ceramic artists.
“We all need work space, which is hard to find or afford in urban areas. The wood-fire crowd needs lots of wood and outdoor space. This area is great because it’s rural enough for us, but has a wonderfully enthusiastic and supportive population of pottery [patrons].”
While many of the artists are returning from previous years, the loose collection of unofficial organizers likes to keep the event manageable for the public, limiting the number of artists and studios each year. A direct drive from the southernmost point at Ann Heywood’s studio in Wingdale to Herold’s big barn in Cornwall is under 40 minutes. But if you want to catch it all, plan for a full day’s worth of art exploration along some of the most beautiful roads in New England.
Starting at its northernmost point, Herold’s studio will host Matin Malikzada of Afghanistan, whose polished, modern interpretations of traditional forms are instantly recognizable. They’ll be joined by wood-fired ceramicists Steve Johnson, with his raw, organic forms, and Harry Levenstein, whose works relate closely to Johnson’s while making even more direct references to nature.
Herold herself creates work that is both beautiful and utilitarian. Her prolific output of objects is intended to be used by everyday people as part of their daily lives.
Moving south is Todd Piker of Cornwall Bridge Pottery. Piker has been making pots in his giant wood-fired kiln since 1971. The kiln looks more like an ancient blast furnace than something designed to transform clay into ceramics, but over the years, he’s mastered its intricacies and produces an impressive amount of fine work.
A ceramic vase by Kathleen Heidemann.Provided
Piker will host Sanah Peterson, who works at Cornwall Bridge Pottery and draws inspiration from both her time with Piker and her time traveling the globe as a child. They’ll be joined by Stephanie Haines, whose vibrant, eye-catching work features underglaze illustrations of birds, fruit and the bounty of nature.
Further along in Warren, Jessica Dubin’s pieces will be on display at the studio of Christine Owen. Both artists seem to appreciate the chaos and unpredictable nature of clay but find ways to refine it all using their own unique methods.
Heading east to Washington, Conn., Will Talbot’s creates intricate work while allowing for the unpredictable nature of clay to play a role. His studio will house Tom Knox and his wide variety of textures and forms, as well as New York City-based Alex Lebedev, who lets music and the nature of improvisation guide his work.
There will be two studios participating in South Kent. Alison Palmner, whose page on the Clay Way website states she “strives to achieve a lighthearted meld of human forms, animals and the vessel.” Her studio will host Ben Eberle, who trained under the guidance of legendary potter Toshiko Takaezu; James Guggina, whose intricate work can appear both deliberate and whimsical; and Paula Shalan, who blends rough, unrefined surfaces with polished precision in individual pieces.
Joy Brown’s delightful ceramic sculptures.Provided
Nearby is Joy Brown, whose work have become a staple of the area, with her figurative sculptures dotting the Northwest Corner. Brown’s studio will also feature Bonnie Levine, who taps into the beauty of chaos and destruction in her work, and Brendan Moore, whose more utilitarian forms are perfect for everyday use.
Finally, the tour crosses the border into Wingdale, New York, where the studios of Drew Montgomery, Ann Heywood and Amy Brenner will host Jackie Sedlock, Lynn Behrendt,and Kathleen Heidemann.
Brenner creates some of the most colorful and vibrant pieces on the tour, while Behrendt’s work is among the most studied and precise. Heywood creates carefully considered, intuitive forms, while Heidemann moves from simple minimalism to intricate textures. Montgomery and Sedlock both find new ways of playing with traditional forms, producing delightfully distinctive pieces.
To learn more about the artists and download a map of participating studios, visit clayway.net
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