Ermanno Olmi, Director Of ‘Tree Of Wooden Clogs’, Dead At 86

“As he typically explored spiritual conflicts within families, the director Ermanno Olmi … was something of an outsider in his native Italy, where orthodox Catholics thought him too progressive and militant communists considered him too much of a reactionary Catholic. Only after his most acclaimed film, L’Albero degli Zoccoli (The Tree of Wooden Clogs, 1978) won him the Palme d’Or at Cannes did Olmi get recognition at home as well as abroad.”

Top Posts From AJBlogs 05.07.18

Rocky Rockefeller Predictions: Estimated “in Excess of $500,000,” But Hyped as “a Billion-Dollar Sale”
With a lot riding on this week’s results of the David Rockefeller estate’s purported “Sale(s) of the Century,” several news publications have upped the ante, impetuously recasting the series of auctions, estimated by Christie’s … read more
AJBlog: CultureGrrl Published 2018-05-07

New York City Ballet Celebrates Jerome Robbins
I lived with Jerome Robbins for six years. (Forgive the startling opener; he was dead at the time, but liked a joke). … read more
AJBlog: Dancebeat Published 2018-05-07

Monday Recommendation: Todd Strait
Todd Strait, There’ll Be Some Changes Made (Todd Strait)
Drummer Todd Strait has spent significant stretches of his career in New York and Portland and freelanced with a cross-section of world-class musicians. … read more
AJBlog: RiffTides Published 2018-05-07

 

Kanye West Is Starting An Architecture Company

Or rather, it’s a new vertical in his Yeezy company – called “Yeezy home,” he tweeted. “He has expressed an interest in architecture before, saying in a 2013 interview: ‘I want to do product, I am a product person. … I make music but I shouldn’t be limited to once place of creativity.”

What’s Up With The Huge Rise In British People Going To Sculpture Parks (And Hugging The Sculptures)?

Attendance has increased to a half million visits per year at once sculpture park, and many others have seen their attendance doubled in the last few years. One artist thinks it’s down to emotion: “When you put your work in a park people will immediately voice their opinion and it seems more real and alive. With sculpture we have an emotional response that’s more connected when we’re outside with it.”