内容摘要：“The anxiety is real,” said Jiang, who knows two international students from China who are weighing whether to travel for work in Kenya and Rwanda.

“The anxiety is real,” said Jiang, who knows two international students from China who are weighing whether to travel for work in Kenya and Rwanda.

“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.”

The idea of using small items like throw pillows to add pops of color to an interior is a direct legacy of Liebes’ influence, the curators say.Some of Liebes’ early works include a Schiaparelli panel created for the 1937 Paris Exposition, and objects linked to the 1939 Golden Gate Exposition, where she began articulating her vision for the role of handcraft in modern design.The exhibit also showcases her contributions to creating dazzling public spaces on a budget by combining handwoven and power-loomed textiles. There are saturated brilliant colors and extensive use of metallics. Examples are the Persian Room of the Plaza Hotel (where textile panels were embedded with tiny lightbulbs); the Marco Polo Club at the Waldorf Astoria; and the Usonian Exhibition House, built on the site where the Guggenheim Museum now stands.

And Liebes helped create consumer goods, including tiles and wallpaper. She had a hand in industry’s development of synthetic materials, and worked to encourage their use by both top designers and consumers.Lurex woven fabrics, for example, in dazzling jewel tones designed to look handwoven, were favored for swimwear and raincoats, as well as washable clothing.

(Elliot Goldstein/Smithsonian Institution via AP)

(Elliot Goldstein/Smithsonian Institution via AP)“Despite there being many varieties, the axolotl from the area is a symbol of identity for the native people,” said Cruz, who participated in activities hosted at the museum to celebrate “Axolotl Day” in early February.

While there are no official estimates of the current axolotl population, the species Ambystoma mexicanum — endemic of central Mexico— has been catalogued as “critically endangered” by theof Threatened Species since 2019. And though biologists, historians and officials have led efforts to save the species and its habitat from extinction, a parallel, unexpected preservation phenomenon has emerged.

to its game in 2021 and Mexicans went crazy about them that same year, following the Central Bank’s initiative to print it on. “That’s when the ‘axolotlmania’ thrived,” Cruz said.