内容摘要：“A lot of the work that scientists do, we’re able to do it because a funder deemed it as important to support that research,” she said, adding, “until we have funders that value the things that we’re concerned about, we’re not necessarily going to get the research published that concerns us.”

“A lot of the work that scientists do, we’re able to do it because a funder deemed it as important to support that research,” she said, adding, “until we have funders that value the things that we’re concerned about, we’re not necessarily going to get the research published that concerns us.”

“A Dark, a Light, a Bright: The Designs of Dorothy Liebes,” which organizers say is the first exhibit devoted solely to her in over 50 years, opened in July and runs through Feb. 4, 2024. The title is taken from a Liebes rule for designing textiles, which produced vibrant results, particularly when viewed from today’s tendency toward neutrals and muted shades.Liebes collaborated not just with architects and designers but with major brands like Lurex and DuPont.

“She had a sense early on of the importance of textiles in interior design. She also knew how to read a blueprint, and she had a very analytical perspective. In a different decade, she might have become an architect,” says Winton.In addition to her design expertise, Liebes could communicate it. She frequently appeared on television and in magazines, and mentored young weavers and designers in her studios in California and, later, New York.Among highlights of the show are the brave — and bright — blue and green color combination in the first-class observation lounge of the ocean liner S.S. United States. There are the brilliant reds and blues of the first-class seating on American Airlines flagship 747; the glamorous textile backdrops of the 1947 film “Eastside, Westside”; and the dazzling upholstery of the 1957 Chrysler Plymouth Fury.

There also are Liebes’ collaborations with fashion designers Clare Potter and Bonnie Cashin, revealing the frequent interplay between fashion and interior design.“There is nothing like what I call a ‘whameroo’ color to make the whole thing come alive,” Liebes told Potter when Potter said she loved the way Liebes would “inject something startling” in her work.

“Don’t be afraid of color,” Liebes said. “Color is heady stuff, and the more one lives with it (as the 20th century man does), the more one can digest. After all, it isn’t the color, but the combination of colors and values.”

She was equally enthusiastic about infusing her work with flashes of bling, which she saw as something essential: “Glitter is what the sun does to grass, what light does to nature.”“What I can promise you is I’ll be an impartial judge,” she told some voters.

Watchdogs also say that last year’s vote on the reform was rushed through, criteria for candidates wasn’t always followed, the number of candidates was limited by a lottery and lower-court orders trying to keep the reforms from taking effect were ignored.Zissis, of Council of the Americas, said the reforms could increase instability in the region at a time of rapid political change.

Mexico’s government has been working furiously to talk U.S. President Donald Trump down from tariff threats and meet demands by his administration to crack down on organized crime. At the same time, Trump has beenwith courts trying to block various actions.