Century City/ Westwood November 19 – December 16, 2021
NEWS CenturyCity-WestwoodNews.com
Undercooked Meat and Mislabeled Pre-Packaged Issues at Reopened UCLA Dining Halls Food safety and ingredient labeling causing doubts among some students returning to UCLA By Dolores Quintana Undercooked meat and mislabeled pre-packaged to-go foods are causing doubts among some students returning to UCLA and the reopened dining halls. As reported by the Daily Bruin, third year computer science student named Alex Wazzan was quoted about finding that the chicken in a dish of orange chicken that he purchased at a UCLA dining hall was undercooked, “I got a knife, cut (the piece) in half, and the entire center was just dark pink, which was pretty
disgusting.” He found the raw chicken in his food at the De Neve dining hall which he now avoids due to the discovery. Wazzan added that, “Given how many students go to these dining halls and how long the orange chicken line was when I got there, if every single dish looks like that, then there could definitely be some concerns.” He did not become ill after eating the food, but he also observed that, “I know the chances of anything happening are pretty low, but it made me wonder what all the other pieces that they’re handing out are like and whether every student is getting similar food.” The student saw a post on Reddit with a similar story in a subReddit that is dedicated to UCLA and decided to post on the thread about having a similar experience. He got a number of responses that expressed concern and who agreed with his thoughts. Another issue is the labeling of prepackaged
Reopened UCLA, see page 4
Photo: Idriss Njike/UCLA UCLA’s De Neve dining hall.
Getty Acquires 16th-Century Painting Never Seen by Public Jacopo Bassano’s The Miracle of the Quails, 1554, has been rarely seen by scholars and never by the public By Sam Catanzaro The J. Paul Getty Museum has acquired a monumental 16th-century painting by Venetian artist Jacopo Bassano, The Miracle of the Quails, among the artist’s most ambitious works and has never been seen by the public. “The Miracle of the Quails is an exceptional example of Bassano’s distinctive artistic style and his juxtaposing of historical subjects with everyday people in a state of poverty. Although it is widely recognized as one of his most extraordinary artistic achievements, it has been rarely seen by scholars and never by the general public,” says Timothy Potts, Maria HummerTuttle and Robert Tuttle Director of the J. Paul Getty Museum. “With its grand scale, this striking and daring painting will become a centerpiece of our 16th-century northern Italian
paintings gallery, alongside works by Titian, Veronese, Savoldo, Lotto, and Dosso Dossi.” The painting was commissioned in 1554 by the Venetian nobleman Domenico Priuli; payments are documented in Jacopo’s Libro de’ conti (Account book), where the picture is described as “l’istoria como vene le cotornice al populo d’Israel” (“the story of how the quails were sent to the people of Israel”). The subject is a rare depiction of the Old Testament episode of the Miracle of the Quails, mentioned in the books of Exodus and Numbers. A single line from the Old Testament’s text turns into a monumental (the painting is 92 inches long) and complex composition. Guided by Moses and his brother Aaron, the Jews left behind a life of oppression, slavery, and deprivation in Egypt. But they are now stuck in the desert, angry with their leaders because of the lack of food. In the painting, high priests Aaron and Moses are portrayed on the left in close conversation, while the rest of the canvas is occupied by an animated and naturalistic depiction of the people of Israel who gather the birds that have miraculously fallen from the sky. The landscape in the background, evocative of the Prealps and the Monte Grappa that dominate Bassano (Jacopo’s hometown), is suggestively populated with the tents of the
Credit: The J. Paul Getty Museum The Miracle of the Quails, 1554, Jacopo Bassano. Oil on canvas, 59 × 92 1/2 in.
Israelite’s camp. Jacopo’s range of colors is notable, with floral rose, pallid green, chocolate brown, and lustrous white, applied with a fluid pattern of improvised brushstrokes. The figures are rendered with elegant artifice, from the
statuesque standing woman at the center of the composition to the sinuous Moses on the left, the almost abstract figure of Aaron in profile, and the delicate mother and child who dominate the right side of the canvas.
16th-Century Painting, see page 5