We should take a small measure of satisfaction in former President George W. Bush’s cancellation of his trip to Switzerland after human-rights groups threatened to bring legal action against him for authorizing torture. Persons detained by the U.S. government after 9/11 were subjected to what the Bush administration euphemistically called “enhanced interrogation,” including waterboarding. In reality those methods constituted torture, violating U.S. law and international agreements.Under those agreements, charges can be filed against members of the Bush administration in jurisdictions outside the United States. The Center for Constitutional Rights along with European groups said they will ask Swiss authorities to initiate a criminal case against Bush. They also planned to file their own complaint.If all that Bush and members of his administration suffer for their crimes are travel restrictions, it will be a mild penalty indeed. (Alas, the U.S. government can and probably will obtain immunity for him.) They deserve far more, starting with a public criminal investigation in the United States, followed by trials. But President Obama says there will be no investigation of top officials. Wishing to “look ahead,” he has decided to treat Bush & Co. as above the law, embracing Richard Nixon’s maxim, “When the president does it, it’s not illegal.” In Germany that used to be known as the Führer Principle. Many of us naively thought it was repudiated at the Nuremberg trials after World War II. How wrong we were. The stain that Bush and Obama have left on America won’t fade anytime soon.It would have been bad enough to torture people actually suspected of wrongdoing, but the Bush administration went well beyond that. Many people subjected to hideous treatment were picked up on the flimsiest of “evidence.” People were offered bounties to turn in others; naturally, some saw that as a chance to settle old scores having nothing to do with terrorism. Absence of evidence (as former Defense Secretary Donald Rumsfeld might say) was not considered evidence of absence. In at least one case, a man was tortured — by the U.S. government’s helper in Egypt, Omar Suleiman — to get the prisoner to say that Iraqi dictator Saddam Hussein had trained al-Qaeda agents. Bush and Vice President Dick Cheney badly wanted to justify their pre-existing wish to effect regime change in Iraq by tying Saddam to 9/11. But there was never any evidence of Iraqi complicity.That reminds us that torture was not the only crime committed by the Bush administration. The Iraq and Afghanistan wars were also (and still are) outrages because, among other reasons, they were based on lies. Bush officials, such as Rumsfeld and Secretary of State Colin Powell, now acknowledge “misstatements,” but that can hardly be taken seriously. We know that back then grave doubts were expressed over the quality of the so-called intelligence about Saddam’s alleged weapons of mass destruction. Rumsfeld’s excuses are pathetic. When he beat the drums for war, he said he knew where Saddam’s WMDs were. Now he says he meant he knew the location of “suspected sites.” Did he step out of Orwell’s 1984?As many people long have believed, the Bush administration’s defector/informants were lying, but their American handlers didn’t care. The one known as Curveball, Rafid Ahmed Alwan al-Janabi, admits he lied about Iraq’s biological weapons. “I had the chance to fabricate something to topple the regime. I and my sons are proud of that,” Janabi said, according to the Guardian.Is he proud of the million Iraqis who died, directly and indirectly, because of the war he helped bring about? How about all the maimed children? Are Bush, Cheney, Rumsfeld, Powell and Condoleezza Rice satisfied that they relied on Janabi? Did they really have no reason for skepticism about his claims and motives?Americans are forced to spend billions of dollars on intelligence-gathering every year. Yet many insiders doubted what the administration was told about Iraqi WMDs in 2002. So what? Bush & Co., hell bent on killing Arabs after 9/11, weren’t interested in evidence or the lack thereof. They needed a way to scare the American people into war, and nothing was going to stop them.Let us hope the retribution against this evil bunch is only just beginning.Sheldon Richman is senior fellow at The Future of Freedom Foundation (fff.org).
Latest News
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.
L. Tomaino
“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.
Want more of our stories on Google? Click here to make us a Preferred Source.
Jane Herold’s beautifully simple dinnerware.
Provided
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
Want more of our stories on Google? Click here to make us a Preferred Source.
