
8 min
What is the economic damage of the NorCal fires?
Almost 6,000 structures have burned, 100,000 people have been displaced, and at least 40 have died in the Northern California fires. As firefighters slowly gain control of...
9 minSo cute! I'm with you, wish I had the confidence to wear bright yellow too. Looks great on your little one.
I'm hot too! Anna is definitely the cutest kid on the planet.
Hi from sunny South Florida: I'm spending my first winter as a snowflake(renting, not buying) in southern Florida, and it's been too lovely to do much more than mending. I don't think I'd be sewing either if it were 30 degrees warmer. I do some of my best sewing during snow storms in NJ, so I'm feeling a bit disoriented. Anna looks so cute and is so much a little girl rather than a toddler. The yellow suits her well, and I think you'd look smashing in it, too. Maybe if you start with yellow on the bottom??
A very cute outfit, love the colour of the skirt.
I never realized how much she looks like you!
that is the fun thing about sewing for kids; you can go wild! I spent a lot of time in the purple zone with my daughter. Now that she buys her own clothes, she wears subdued greens and blues.
That is such a cute, cute outfit! And the little one is adorable!
Very cute! I love this colour combination.
I made skirts and tops in these colours for my daugther too, when she was Anna's age.
Your daughter looks adorable! I wouldn't have known it was vintage pattern had you not told me. Children's clothes have stayed so classic.
That is adorable! And not like a bumble bee, at least not in a bad way.
That's a stylish little outfit.
I've been thinking of your "extended family" and wondering if all is well?
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The August Dubai cash to swap spread hit a month-to-date high at $2.35/b at the close of Asia trading Tuesday after tracking within a narrow range around $2/b for the first half of June.
The spread, an indicator of sentiment in the Middle East sour crude market, has risen steadily this week after being assessed at $2.04/b last Friday, S&P Global Platts data showed. It was assessed at $2.19/b at 4:30 pm Singapore time (0830 GMT) on Monday.
Traders attributed the rise to a modest resurgence in buying appetite as refiners try to procure cargoes before the end of the month, after having waited as long as possible to do so in the hope that prices would keep falling.
"Buyers had a bearish view, so [they] waited, but the market didn't come off [to the level they would have liked]," said a crude trader in Singapore on Tuesday. Refiners would rather pay a small premium on top of the prevailing market rate than lose a cargo at this point, the trader added.Oil prices declined on Monday, adding to heavy losses at the end of last week on the back of high drilling activity in the United States and ample supplies from OPEC and non-OPEC nations. Brent crude futures, the international benchmark for oil prices, were at $46.21 per barrel, down 50 cents, or around 1%, from their last close, CNBC reported. Prices dropped even as OPEC signaled it may widen its production caps to include Nigeria and Libya, whose output has recovered in recent months after being curtailed by years of unrest. US crude futures were at $43.78 per barrel, down 45 cents. "The market is in trouble and looks very vulnerable to lower numbers," PVM brokerage said in a note. The Organization.
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Read our comment policy before posting your viewpointsThe Getty’s acquisition tells the story of how a once-scrappy alternative art space withstood decades of economic and cultural change and survived through the present.
LOS ANGELES — Any art history book about Los Angeles artists since the 1970s would be remiss if it did not mention Los Angeles Contemporary Exhibitions (LACE), the nonprofit arts space that was once a center of the early downtown arts scene and now a mainstay of emerging local and international artists. In 40 years, LACE grew from a small community access gallery to a significant institution involving thousands of artists, art workers, and activists.
In March, the Getty Research Institute (GRI) announced that it was acquiring LACE’s archive, adding four decades of exhibition and program materials to its collection. The Getty’s acquisition, along with an exhibition at LACE, provides an opportunity to piece together the story of how a once-scrappy alternative art space withstood decades of economic and cultural change and survived through the present.
Founded in 1976 by a group of artists, LACE established itself on Broadway in Downtown LA’s bridal shop district before moving to Industrial Avenue in 1986. The 13 founding artists included sculptor Nancy Youdelman, alumna of Judy Chicago’s Feminist Art Program, and Harry Gamboa, Jr. and Gronk, members of the Chicano artist collective Asco. LACE moved to its current space on Hollywood Boulevard, just steps away from the Hollywood Walk of Fame, in 1994. Throughout its history, the space fostered a diversity of art forms (especially video and performance) and artist backgrounds, representing substantial numbers of women, queer artists, and artists of color.
The roughly 450 linear feet of material acquired by the Getty, comprised of photographs, letters, collateral, video tape, and other records, is the result of decades of informal and formal efforts by LACE staff members, interns, and volunteers to preserve the space’s history. To put the size of the archive in perspective, the artist Allan Kaprow’s archive at the Getty — an example of a typically large archive — is about 300 linear feet.
Matias Viegener, an artist and critic who has been part of LACE’s history for almost 30 years, got a chance to dig through the archive, which until recently was housed in LACE’s attic, and curate a small sampling of materials for his exhibition, The Archival Impulse: 40 Years at LACE. The exhibition, currently on display, gives a sense of the breadth and scope of the archive, with a number of surprising objects that tell the organization’s story.
Flyers, pamphlets, invitations, and calendars make up a large part of the archive, and reflect the vision of the many artists and designers who were part of LACE, like a series of printed materials from the ’90s created by graphic designer Jeff Keedy. Old invoices, grant applications, and fundraising appeal letters also provide snapshots into the organization’s financial history and the relationships between people that helped sustain the organization over time. A $150 check — a small amount even in 1990 — made out to the artist Mike Kelley and later returned in the mail may amuse some visitors given his later status as a blue-chip artist.
A walkthrough of The Archival Impulse reveals other major figures and historical moments that passed through LACE, like the TV Generations exhibition, curated by John Baldessari and Bruce Yonemoto in 1986, and Against Nature, a 1988 group show curated by Dennis Cooper and Richard Hawkins in response to the AIDS crisis. A brochure from a 1989 retrospective show for Ana Mendieta possibly marks the last time the late artist had a solo exhibition in Los Angeles. Another show from the ’80s, an exhibition of posters from liberation struggles around the world, further point to LACE’s engagement with local and global politics.
While accounting for less than 1% of the complete LACE archive, The Archival Impulse reflects the diversity of forms and artists that the organization has championed for 40 years. The organization