Part 3 of 3 College tuition hurts those who need higher education the most — lower-income students. Back in your parents’ era, that may not have been much of a problem, thanks to a growing middle class. But in America today, the middle class is disappearing, leaving more of us than ever facing impossible future tuition costs for our children.The high cost of college tuition has become the most expensive outlay a family faces after buying a home. Most graduates face years of paying off education loans. Students who graduated last year will carry an average of $25,250 in debt, a 5 percent increase over the year before. It was the first year when student debt surpassed credit card debt in this country. Why do we do it?Most studies agree that the marginal value of a year of college education adds around 6 to 10 percent to annual income, but the cost versus the benefits are starting to unravel. College grads are facing an economy of slow growth with high unemployment where jobs are at a premium and salaries are going down, not up.It is a determined student, especially in poorer families, who can ignore the messages he receives from as early as the eighth grade. “College is just too expensive. We can’t afford to send you.”That was the message I received from my folks. Neither of my parents graduated high school.I opted to join the Marine Corps, fight in Vietnam and four years later attend college on the GI Bill. Today, roughly 100,000 men and women follow that route every year and attend college for free. I believe college should be free for all Americans because college is to today’s generation what high school was to my parents’ generation.But the most vexing part of paying for a college education today is the product itself. Aside from acting as a convenient (though expensive) job screen for potential employers, does a college education prepare students for the working world? A growing consensus among educators argues no. Information changes at lightning speed and cutting-edge knowledge becomes obsolete in less than a year. In that kind of environment I believe our students should be focused on one purpose: the need to “learn how to learn.” I agree with Walt Kelley (and others) who advocates the same thing in his book “Common Sense, a New Conversation about Public Education.”Think about it. A college graduate’s learning curve begins the moment of entering the workplace. It doesn’t matter whether you join a high-tech startup, an investment bank on Wall Street or service autos at a garage: There is a wealth of new knowledge you must master in order to succeed. And it never ends!In my own career (and I’m sure in yours as well) I am constantly required to learn and master new subject matter, many times on a daily basis. Over many years, I have acquired a skill set that allows me to digest even the most complex data, integrate it into my knowledge base and communicate it to you, the reader, in terms that you find comprehensible.I have found that most successful individuals I know have acquired these same fundamental educational skills and use them throughout their careers. As applied to our educational system, I believe that beginning in elementary school, students should be taught the foundations of learning how to learn. Reading, writing, arithmetic, geography, music, art, physical fitness and civil service are the fundamental building blocks that begin that process. In our high schools this foundation of knowledge should be expanded. Foreign language, history, economics, ethics, logic (among others) should be mastered, integrated and applied to daily life. By the time one reaches college, the student will have mastered an arsenal of learning tools that can be applied to any and all subjects.So why pay anything for a product that doesn’t deliver the goods? Sure, college should be free but it goes beyond that. What is the point of acquiring an expertise and storing tons of information that will be obsolete in a year? I believe the goal of higher education in this country should be to produce citizens who can think for themselves, understand the difference between rhetoric and fact, create and challenge both themselves and their communities and as a result get this country and its future back on track. Bill Schmick lives in Hillsdale, N.Y. He is registered as an investment advisor representative with Berkshire Money Management. Bill’s forecasts and opinions are purely his own. None of the information presented here should be construed as an endorsement of BMM or a solicitation to become a client of BMM. Direct inquires to Bill@afewdollarsmore.com.
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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
Matteo works as the ever-enthusiastic auctioneer, and he puts on a real show. In just a few hours, he presents and sells hundreds of items, from antique furniture and rugs to art and decorative items, even taxidermy, jewelry and other odds and ends you probably wouldn’t expect. Community is part of the show, with Matteo joking around with regulars. Attendees congratulate each other on their purchases, and even educate each other about the items as matteo keeps the momentum going. If items aren’t moving, Matteo will remind the room that he’s got alimony to pay, and it’s up to everybody in the room to help him raise the funds.
For the past 15 years, this has all happened in that highly visible building at the main intersection in North Canaan. Now, Mattea, Kolbacher and their Stateline Auctions crew have moved off the beaten path. For some frugal bidders, this might seem like a good thing. After all, the fewer people who know about the auction, the fewer people they have to bid against when their lots come up.
Hundreds of items at Stateline Auctions, including a candy-apple-red Crosley pickup truck.D.H. Callahan
Unfortunately for those who consistently show up, the competition these days is less in the room and more online. Stateline has been running simultaneous auctions through the real-time auction website and app LiveAuctioneers.com, where the entire event is streamed live. Throughout the eight-hour event, the online viewership rarely, if ever, dips below 600 individual users. This technological development creates more potential buyers for Stateline and also allows busy bidders to keep an eye on their lots while out and about.
The new space, still in North Canaan, just barely south of the Massachusetts border, is a sizable warehouse packed to the ceiling with precious finds. It’s bigger, brighter and has ample parking.
The auction on Oct. 11 featured all kinds of lots, including three cars. A candy-apple-red Crosley pickup truck grabbed every eye in the room and even more attention online. Amid all the enthusiasm, it was heartwarming to witness the entire audience erupt in applause as young bidder Molly Seitz burst into tears after winning the truck. The beautiful vintage vehicle had belonged to her grandfather, who had given her driving lessons in it before he died.
Between resellers, collectors and the casually curious, the performance that is a Sunday at Stateline Auctions is a delightful way to breathe new life into old items. There’s rarely a set date for the next auction, but it generally takes about six weeks before they’re ready with their next round of goods. This time, Matteo predicts a sale after Thanksgiving, but if you want to be safe, follow their auction on liveauctioneers.com.
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