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The watermelons of our summers are not the watermelons of yesteryear, as demonstrated by a 17th-century painting by Italian artist Giovanni Stanchi. The Renaissance still life depicts a sliced watermelon with a knife resting over pinkish, pale flesh full of dark seeds— much different from the lush reds with only a scattering of seeds that we see when slicing them open today.
As Vox reported this week, the painting captures an early form of the fruit so well that James Nienhuis, a University of Wisconsin horticulture professor, shows it to his classes when teaching crop breeding. The painting, which was auctioned last year at Christie’s, captures the watermelon in the midst of domestication from its wild form, which originated in Africa.
Over time, watermelons were bred to have different shapes, fewer seeds, more water and sugar, and that rich, red flesh. And they’re still evolving: we now have seedless watermelons, square watermelons, and even — horror — watermelons with human faces. Most of us likely realize on some level that the majority of the fruits, vegetables, and meat in our grocery stores are not completely natural, resulting from centuries of selective breeding and modifications. For example, almost all of our carrots are orange despite the fact that they grow in shades from yellow to purple, the result of a 17th-century cultivating frenzy of an orange breed with a hefty amount of beta-Carotene, as a tribute to William of Orange. The peach, also, once only found in China, was cultivated to be bigger, sweeter, and have a smaller pit for easier consumption.
Old master still-life artists like Stanchi froze fragments of time, including moments in our agricultural history. Below are more examples of watermelons of the past captured in art.
Every utopia is a social experiment, the artist suggests in this commission for the Performa performance art biennial, and we’re ultimately the guinea pigs.
“You can’t live in a house that’s built upon your back.” This is one of the more memorable phrases spoken by the scripted lovers of Tschabalala Self’s Sounding Board, what Performa describes in its promotional materials as an “experimental play.” That phrase, uttered by one romantic partner to the other, operates as guidance, warning, dictate,…
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
A commitment to trans subjects, and their queer communities, is manifested as a holding environment made approachable by our concern, grounded in intimacy and legacy, enfolding any viewer who will stop, listen, and receive love.
Todd Chandler’s documentary Bulletproof looks at the many people monetizing the societal rot of school shootings.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
The artists released the risograph-printed booklet series Organizing Power to assist in the arduous process of assembling a bargaining unit and negotiating.
From 1963 through 1968, Warhol produced nearly 650 films, including hundreds of Screen Tests and dozens of full-length movies.
Melvin Edwards, Maren Hassinger, and Alison Saar are among the artists kicking off the Destination Crenshaw initiative.