Incidente mortale oggi alle 13,15 in via delle Fornaci, una traversa della Salaria in zona Monterotondo. Lo schianto choc è avvenuto tra un’Audi grigia e un motociclista di 52 anni che, dopo esser stato sbalzato, è morto sul colpo per le ferite riportate.
Immediato l’intervento degli agenti della polizia locale capitanati dal Comandante Michele Lamanna. Giunti sul posto, hanno potuto solamente constatare il decesso del centauro, padre di due figlie. Da stabilire ancora la dinamica dell’incidente.
Doveva soccorrerlo tempestivamente e salvargli la vita, ma l’ambulanza chiamata per raggiungere un uomo di 60 anni vittima di un malore è stata bloccata in strada, ostacolata dalle tante auto in sosta. È accaduto ieri sera a Castelletto, quartiere di Genova a rischio per episodi simili.
I veicoli mal parcheggiati hanno rallentato i soccorsi e quando il personale medico è arrivato a casa dell’uomo era ormai troppo tardi. Con una dettagliata segnalazione alla procura della repubblica è stato aperto un fascicolo di indagine per accertare se il posteggio selvaggio (anche dell’auto del deceduto) e il traffico abbiano contribuito al decesso del sessantenne.
Neppure il carro attrezzi è riuscito a intervenire a causa della strada stretta e della mancanza di spazio per la manovra. Nelle scorse settimane il Comune aveva annunciato “tolleranza zero” nei confronti degli autori dei parcheggi irregolari nelle zone.
SENIGALLIA – Era scomparsa di casa, donna trovata morta sulle scogliere del molo di levante di Senigallia nelle Marche.
L’allarme era partito dal marito della 75enne che ne aveva denunciato la scomparsa dopo che la donna si era allontanata con la sua auto senza rientrare. Quando il mezzo è stato trovato al porto dai carabinieri, la Capitaneria è stata coinvolta nelle ricerche e il copro della 75enne è stato trovato sulle scogliere. Il pm Mariangela Farneti coordina le indagini, ma al momento la tesi prinicipe è che si sia trattato di un gesto volontario.
VERONA — Grave incidente sul lavoro è avvenuto oggi dopo mezzogiorno in via Valpantena 8 a Verona, nei pressi del vivaio Verde Valle. Per cause in via di accertamento un operaio veronese 42enne, residente a Villafranca di Verona, è rimasto schiacciato sotto una pesante lastra di cemento all’interno del cantiere dei lavori per l’ampliamento della tangenziale est.
Avvisati dal Suem118, i pompieri sono accorsi con due squadre, tra cui un’autogru, per salvare l’operaio. Nel frattempo l’uomo è stato soccorso dai colleghi, che lo hanno estratto e affidato alle cure del personale sanitario, presente con eliambulanza, che purtroppo ne ha dovuto constatare il decesso.
Barkley L. Hendricks, a towering artist best known for his celebratory, uncompromising oil portraits of Black people from urban places, passed away early this morning. His death was sudden but due to natural causes. He was 72 years old.
Born in Philadelphia in 1945, Hendricks received a certificate from the Pennsylvania Academy of Fine Arts and a BFA and MFA from Yale University. He studied photography before delving into painting — in a recent Tate video, he called his camera “my mechanical sketchbook” — and over the course of his decades-long career worked in fashion as well. The last is what often drew him to his subjects, whose clothes are typically as evocative as their expressions and poses. Hendricks began painting portraits of everyday people — friends, acquaintances, and individuals he met on the street — in the 1960s and ’70s, earning acclaim for a style that was both nuanced and unbothered. Many of his subjects face the viewer head on, and Hendricks was an expert in rendering the fullness of their human complexity.
Hendricks spent a large part of his life in cities in the northeastern US, and many of his subjects were people of color residing in those areas. The artist repeatedly said that he did not see the decision to paint full-size, scrupulous portraits of Black people as political — even in the face of a show at Jack Shainman Gallery last year that included an image of a young Black man with his hands up, posed against the backdrop of a Confederate flag and in the crosshairs of a gun. “Well, I paint and make art because I like doing it; that’s always the motivating factor,” he told Hyperallergic on the occasion of that exhibition. “The subject matter I’m involved with, though, has always been seen as suspect, given the screwed-up culture we live in. I’m not sure how you are with other artists, but generally, how many white artists get asked about how their whiteness plays into their work? I didn’t [start to] paint or take photographs because I was Black.”
Regardless of his protestations, the art world welcomed Hendricks’s work as a political statement; Black curators and younger Black artists especially saw it as foundational. Thelma Golden included Hendricks in the landmark Black Male exhibition that she curated at the Whitney Museum in 1994, and the text for his first retrospective, organized by Trevor Schoonmaker at the Nasher Museum of Art in 2008, notes that “Hendricks’s artistic privileging of a culturally complex black body has paved the way for today’s younger generation of artists.”
“Over the past 17 years Barkley and I have worked closely together on numerous exhibitions, talks and projects, but it is his deep friendship that I will miss the most,” Schoonmaker said in a statement shared with Hyperallergic. “To be blunt, he changed the course of my life. With so many artists and writers now responding to his paintings and photography, Barkley stands out as an artist well ahead of his time. Though his work has defied easy categorization and his rugged individualism kept him outside of the spotlight for too many years, his unrelenting dedication to his pioneering vision has deeply inspired younger generations. … Today Barkley’s extensive body of work is as vital and vibrant as ever, and the full impact of his art and teaching is only beginning to unfold.”
In addition to making his own work, Hendricks served as a professor of studio art at Connecticut College from 1972 to 2010.
“We have had the great honor of working with Barkley since 2005,” said Hendricks’s dealer, Jack Shainman, in a statement. “He was a situational painter, documenting the world around him in vivid and highly detailed paintings that capture the distinctive personalities of his subjects. He was a true artist’s artist, always dedicated to his singular vision; he was a figurative painter when it was trendy and especially when it wasn’t.
“Barkley’s groundbreaking oeuvre represents everyday people, shining a light on subjects who weren’t typically depicted in life-sized oil paintings. His work paved the way for a new generation of figurative painters, and his absence in the art world will surely be felt. The gallery will continue to represent Barkley’s outstanding legacy through ongoing advocacy of his tremendous body of work.”
Hendricks, who is survived by his wife, Susan, of 34 years, reflected on his legacy in the Tate video shot last year: “I’ve been painting for 40 years. … I get all kinds of different thoughts about what my painting’s about, and many of them don’t relate to the areas of inspiration. There should be a degree of mystery — what can I tell you? You know enough. I want it to be what I call memorable. I don’t want it to go poof.”
The designer and theatre-maker Bill Mitchell, who has died of cancer aged 65, was a pioneer of landscape theatre in the UK, at first with Kneehigh, and then with his own influential company, Wildworks. More than 6ft tall, with a gold tooth and a beaming smile that made him look like a friendly pirate, Mitchell brought a visual artist’s sensibility to theatre as well as a free-spirited generosity and a belief that theatre was at its most radical and potent when it sprang from place, space and community.
His Hell’s Mouth, a version of Antigone created in Hendra china clay pits near St Austell, Cornwall, for Kneehigh in 2000 was typical of Mitchell’s work, full of panache and vision and featuring a chorus of local leather-clad bikers. For Mitchell, site and story were central to all the shows he created and were always deeply entwined.
Mitchell and Wildworks, which he founded in 2005, never parachuted into an area but embedded themselves within communities, not just in Britain but in Palestine, Cyprus and all over mainland Europe. Mitchell and his team created a string of memorable shows including A Very Old Man With Enormous Wings (a co-production with Kneehigh based on a story by Gabriel García Márquez), a haunted version of the Orpheus and Eurydice myth called Souterrain, initially created in 2006 in a steadily depopulating village in Stanmer Park near Brighton, and – in a co-production with National Theatre Wales – the spine-tingling The Passion, a contemporary, secular version of the Easter story.
A 72-hour event unfolding in real time over Easter weekend in 2011, and starring the local hero Michael Sheen, The Passion was made with and for the people of Port Talbot. The Last Supper took place in the local social club with interventions from the Manic Street Preachers, the Garden of Gethsemane was an earth-filled skip on a housing estate, while angels pedalled on fiery bicycles and the sea become a massive baptismal font. It was, and is likely to remain, one of the great theatre events of this century.
Born in Erith, Kent, to John Mitchell, an engineer, and his wife, Ethel (nee Kemp), a cleaner, Bill was educated at Dartford grammar school, where he showed early promise at art. He took a foundation course at Medway School of Art and went on to the theatre design course at Wimbledon School of Art, London. The visual was always a significant part of Mitchell’s practice both as a director and designer, and he designed some of Kneehigh’s greatest shows, including Tristan and Yseult directed by Emma Rice, The Red Shoes and A Matter of Life and Death.
Mitchell’s early career was in the theatre in education movement of the 1970s including at the socialist collective Key Perspectives, where in 1976 he first met his partner, Sue Hill, and then at Theatre Centre in the 80s. In 1988 he and Sue moved to Cornwall, developing an enduring relationship with Kneehigh, for whom he directed indoor shows such as Nick Darke’s Ting Tang Mine, while also increasingly taking the company outside to create large-scale pieces of walking theatre that used landscape not just as a backdrop but as an integral part of the storytelling.
Landscape – rather inconveniently from the point of view of some artists, but never Mitchell – always comes with resident communities attached. But it was these communities and their stories that fascinated Mitchell, and because the stories were excavated with love and treated with care they gave his productions real emotional charge.
In shows such as The Passion, the stories of ordinary people were elevated to the status of epic myth. The Beautiful Journey (2009) drew on the memories of local people to explore the legacies of shipbuilding in Plymouth and Newcastle. In the process of making the shows Mitchell was always examining questions around who can make theatre, how it might be made and where it can happen.
A great collaborator, Mitchell often described himself as “a collagist”, working through visual images and crafting each show like a film editor. To outsiders, the process could look like chaos: it was certainly always risky, and on occasion, as with Babel in Caledonian Park in London in 2012, it did not come together. But mostly the process delivered sublime results, including shows such as Wolf’s Child, which premiered at the Norfolk and Norwich festival in 2015 and offered a beguiling, mysterious and magical meditation on feral children and what it really means to be wild.
Mitchell was often most at home when he was working outside, but his ability to transform any environment and find its resonances and ghosts was demonstrated in 2010’s Enchanted Palace, which transformed Kensington Palace into a creepy fairytale landscape, one with a strong sense of the uncanny.
Despite being diagnosed with cancer in 2015, Mitchell continued to work up to his death, and a new version of Wolf’s Child will be performed in the woods at Trelowarren Estate in Cornwall in July. But it was part of his generous nature, and his enduring belief that theatre is a communal and collaborative act, that he spent his final weeks looking to Wildwork’s future and ensuring that the work he pioneered will continue.
He is survived by Sue, Ethel and his brother, Robert.
• William John Mitchell, theatre director and designer, born 2 December 1951; died 14 April 2017
A stalwart of Scottish theatre, Sean Scanlan found fame on television as Shug, the affected Anglocentric uncle to Gregor Fisher’s Glaswegian grotesque Rab C Nesbitt, and ferryman Gordon in the family drama Two Thousand Acres of Sky.
Born in Glasgow, he was educated at the independent St Aloysius’ College before being expelled for flouting the uniform code. Resisting expectations to follow his brother into law, he joined the city’s New Victory Players Dramatic Club, where he found his vocation.
In 1971, he moved to London to train at the Drama Centre, graduating with the Gold Medal. On returning home, he joined the Royal Lyceum Theatre, Edinburgh’s youth company, appearing in Ray Herman’s They Shoot Horses, Don’t They? in 1975. He attracted attention as the demonic Martin in Dennis Potter’s Brimstone and Treacle at the Crucible Theatre, Sheffield, and in David Lan’s The Winter Dancers at the Royal Court Theatre in 1977, returning there the following year in Ron Hutchinson’s Says I, Says He and Lenka Janiurek’s In the Blood, and again in 1979 for Liane Aukin’s On Top.
A season with the Bristol Old Vic saw him appearing in Tennessee Williams’ The Glass Menagerie, Timon of Athens and Guys and Dolls. During the 1980s, he traversed the country, notably working with the Tron Theatre, Glasgow, Scottish touring company Borderline, and at the Haymarket Theatre, Leicester, where he played a lovelorn alcoholic copywriter in the premiere of Mike Hodges’ first play, Soft Shoe Shuffle (1985) and Judge Brack in Ibsen’s Hedda Gabler (1987).
At the Donmar Warehouse in 1993, he played the psychopath Arbogast in Simon Donald’s The Life of Stuff and in the newly reopened Mermaid Theatre the puritan agitator John Knox in Robert Bolt’s Vivat! Vivat Regina! in 1995. Back in Scotland, he toured Danny Boyle’s Love, Lies, Bleeding (1998) and Conor McPherson’s The Weir (1999), and was the titular astral adventurer in David Greig’s The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union at the Tron Theatre (1999).
With the Royal Shakespeare Company in 2000, he was seen in Greig’s Victoria and was a striking Archie Rice in John Osborne’s The Entertainer at the Glasgow Citizens in 2003.
Later stage roles included the cuckolded Chrysalde in Liz Lochhead ’s reworking of Moliere, Educating Agnes (Glasgow Citizens, 2008), dithering lecturer Ike in Ella Hickson’s The Authorised Kate Bane (Traverse Theatre, 2012) and the backroom political schemer Herbert Wehner in a 2016 Scottish tour of Michael Frayn’s Democracy.
Having made his television debut in 1976, he went on to appear in 60 shows, including the period drama Airline (1982), Alan Plater’s The Beiderbecke Connection (1988) and The Tales of Para Handy (1994–95). More recent appearances included Katie Morag (2014–15) and the 2016 film Whisky Galore.
Sean Scanlan was born on August 18, 1948, and died on April 17, aged 68. He is survived by his wife, the actor Barbara Rafferty.
Jung was from c. 2005 the artistic director of the Junge Musiker-Stiftung, a Bayreuth foundation running the singing competition Cantilena Gesangswettbewerb for young singers in the categories opera, concert and operetta. He died in Essen.
Ulrike Gondorf: Erleben ist wichtiger als Singen. Der Wagner-Tenor Manfred Jung; in: fermate. Rheinisches Musikmagazin, 2/1983, Verlag Dohr, 1983
She worked on ‘Designing Women,’ ‘Family Ties’ and ‘Kate & Allie.’
Trish Vradenburg, a playwright and sitcom writer who worked on Designing Women, Family Ties and Kate & Allie and became a leading advocate in the fight against Alzheimer’s disease, has died. She was 70.
Vradenburg died Monday of a heart attack at her home in Washington, her publicist announced.
A native of Newark, N.J., Vradenburg, the daughter of a judge, graduated from Boston University and began her career as a speechwriter for New Jersey Sen. Harrison Williams.
Starting in 1985, she wrote for the CBS sitcoms Kate & Allie, starring Susan Saint James and Jane Curtin, Everything’s Relative, starring Jason Alexander, and Linda Bloodworth-Thomason’s Designing Women, and then did an installment of NBC’s Michael J. Fox starrer Family Ties in 1988.
Vradenburg wrote a 1986 novel, Liberated Lady, and her byline appeared in such publications as the New York Daily News, Boston Globe, The Washington Post, Ladies’ Home Journal and Women’s Day.
In 2010, she and her husband — former Fox, CBS, AOL and AOL Time Warner attorney George Vradenburg — founded the organization UsAgainstAlzheimer’s, dedicated to finding a cure by 2020.
Her mother, Bea Lerner, lived with the disease. She described her as a “powerful, dynamic woman — invited personally to JFK’s inaugural as a thank you for handing him New Jersey — who had suddenly become a confused, helpless person.”
She wrote about her experiences caring for her mother in the play Surviving Grace, which was produced at the Kennedy Center, the Union Square Theatre in New York (where Illeana Douglas starred) and throughout the U.S. and other countries.
As she said in an UsAgainstAlzheimer’s blog post: “A cure for Alzheimer’s: a fantasy, a wish, an impossible dream; the same words that were said to Galileo, Edison, Curie, Salk and whoever dreamed up the Internet. Yesterday’s dream is today’s reality.”
In addition to her husband, survivors include her daughter Alissa and son-in-law Michael; son Tyler and daughter-in-law Jeannine; grandchildren Harrison, Skyler, May and Gavin; and brother Michael and sister-in-law Cat.
A private family service will take place this week in Los Angeles, followed by a public memorial in Washington on May 9. Donations can be made to the Bea Lerner Fund of UsAgainstAlzheimer’s Network.
Emilio Justo Gerardo Del Pozo y de la Osa, 68, of Astoria, NY, passed away on March 23rd, 2017.
A gathering will be held to celebrate his life on Sunday, April 23rd at 4pm at the Producers Club, 358 W. 44th St., New York, NY.
Emilio was born in Havana, Cuba on August 6th, 1948. He moved to the US when he was 7 years old and grew up in Mount Vernon, NY at the Wartburg Orphan Home. He served in the US Army during the Vietnam era and went on to study acting, graduating from the American Musical and Dramatic Academy.
He continued to have a successful career for several years in the New York performing arts industry, including a featured role in the Roundabout Theatre’s production of ‘Summer and Smoke,’ and understudy to Al Pacino in the Broadway production of ‘Salome.’ He did several Off-Broadway and Regional shows, numerous commercials in both the English and Spanish speaking markets, had a supporting role on ‘Mathnet,’ a Children’s Television Workshop production, several appearances on Soaps, and multiple featured roles on ‘Law and Order.’
While establishing his acting career, he worked for many years in Security at the Doral Hotel in Manhattan.
Always holding an interest in the arts, Emilio ended up working for the Metropolitan Museum of Art, from where he retired.
He enjoyed art in all its forms: whether it was acting, drawing, writing, or music. Bob Dylan and The Beatles were his favorite musical artists, and he often quoted Dylan as Emilio was an avid admirer of his poetry.
Emilio was a thinker. Philosophy and science fiction were topics that kept him intellectually stimulated, always searching for the deeper meaning of why we are all here and where else we go.
Emilio is survived by his two children, Brandon Del Pozo of Bound Brook, NJ, and Leandra Del Pozo of Jersey City, NJ, his former wife and mother of his children, Zita Geoffroy-Heinz of Bridgewater, NJ, his step-father Jose Gonzalez of Manhattan, and many loving cousins, friends and neighbors.
Emilio is pre-deceased by his mother Luisa de la Osa Gonzales.
In lieu of flowers, memorial donations may be made to the St. Jude Children’s Research Hospital, 220 E. 42nd. St. New York, NY 10017, https://www.stjude.org,
or the Actor’s Fund https://donate.actorsfund.org.
Published on NYTimes.com from Apr. 18 to Apr. 19, 2017