Steve Ivanovics [Copyrighted by Paul Posados] assisted in the Developement / Re-Scripting of my film: 'It All Came True' which is @ present still in Re-Script / Re-Direct

 [Steve shall be one of the Characters in the Film as well]

. . . the elements that are the underlying foundation of the Story - are multi-faceted and inter-woven into two separate time-lines - and the time-lines are both woven together even though they both are in the opposite directions of one another - they run parallel to one another [the end is the beginning and visa-versa] . . .

the story begins with the actual ending [a violent bloodbath - the death of an Officer] - and directly afterwards - the Story begins to unfold with inter-woven time-lines that portrait the characters that are involved with an 'attempt' @ creating a club environment within a boarding house environment

~ 'Christina - the dancer' ~  [one of the Artworks in Exhibition that takes place  in the film]

time-lines involving the past & of future events are inter-woven with precision and overlap the story - allowing for the viewer to understand the personalities that make up the cast . . .

. . . "It All Came True . . ." about filmmaking [more info regarding the Film]

more to follow . . .

> Recently, July 30 'till August 30, 2008 -  Lawrence Street Gallery  presented an Exhibition of Smith + Zdeb in Michigan

'Objects d'Art: Illuminated Pleasures'  a Two Person Exhibition by Gene Smith and Larry Zdeb

[quote]

Larry Zdeb and Gene Smith say that "Objects d'art”, is an exploration into the past. Influenced by Kurt Schwitters, Joseph Cornell and Robert Rauschenberg <------ click me

the artists use vintage found objects as a major component in their constructions along with elements of Dada, randomness and chance. Layer after layer,

the surfaces of these constructions reveal a variety of stimulating possibilities to the viewer.

Included in this show is a collection of box constructions, many of which feature battery-powered lighting. With the windows of the gallery blacked out and

interior lights off, gallery visitors can turn on each box beginning with the smallest. In the dark, the normal parameters of the boxes are lost, provoking

imaginative associations. The beauty of these assemblages is in pushing the envelope beyond the boundary of the conventional.

[/quote]

. . . the following Photographs were taken in Gene's Studio back in July of 2006.

(Preparing / Finishin' the Works of Art for Inclusion in the Aforementioned Exhibition)

> a Review i wrote regarding Gene Smith back on Friday, July 14th 2006

. . .  ‘Artifacts In Essence’ - as a Tribute to Cornell

. . . ps - this is the Artist that Lady Joanne works with during the day

. . . Robert Rauschenberg, one of the most influential artists of the 20th century, died Monday in Florida at age 82.

note: i had worked on some 'Assemblages' of Robert's - with Peter Worth (during the 1980's) in Los Angeles, California . . . Rest in Peace my Friend

. . . from the history of collage from Picasso and Schwitters to Rauschenberg and Cornell, I have come to believe that sometimes the making of a work may be planned

from beginning to end. An image may be made in more than one form, changing according to the needs of the work, but a primary goal in making collage art is to allow

the imagery to transcend the process and speak to the viewer . . .

Copyrighted 2008 - 'G Waves' - lunar.gsfc.nasa.gov

. . . Robert also got involved with producing dance performances and went on a world tour with Cage and Cunningham’s dance company.

In 1968, he was invited by NASA to witness the liftoff of Apollo 11 and to use this theme in his work - see above . . .

> a Quote: . . . Robert Rauschenberg: 'The Wild and Crazy Guy'

By RICHARD LACAYO - Thursday, May. 15, 2008

It may be the least of the many things that Robert Rauschenberg will be remembered for. But in summing up the great legacy of the artist,

who died on May 12 at 82, let's pause to remember that he won a 1983 Grammy Award for the cover of the Talking Heads album Speaking in Tongues.

Something about that feels right. It's hard to think of a better match for Rauschenberg, a demiurge of creative disorder, than the band that said,

"Stop making sense"

What Rauschenberg  passed on to everyone who came after him was an idea of art as a very freewheeling transaction with the world.

Marcel Duchamp may have staked out something like this position sooner, but Rauschenberg gave it a more raucous charm. True, many

artists have used it since as permission to make lazy, slapdash work. So did he. But every time you see anyone doing anything that

isn't supposed to be art--and calling it art--Rauschenberg is there.

Born in Port Arthur, Texas, in 1925, he made his way to New York City by age 19. All around him was a world of beckoning refuse,

umbrellas, rags, old magazines, even a stuffed eagle--things just waiting to be reunderstood, or maybe just misunderstood in more interesting ways.

Collage and assembly were techniques that had already been used meticulously by Picasso and Kurt Schwitters.

 Rauschenberg jammed his found objects together with a different kind of abandon.

 He produced industrial-strength "combines," big pieces in which worlds collided with a bang.

Monogram, from 1955 to '59, featured a wooden platform on which stood a stuffed Angora goat with a tire around its waist. It was typical.

Rauschenberg's early thinking crystallized in the late 1940s and early '50s at Black Mountain College, where he shared ideas with the composer John Cage,

who was using chance and randomness as operating principles in his art. One famous Cage composition, 4'33", was just four minutes and 33 seconds of nothing,

in which the silence and whatever random noises people heard (or made) in an auditorium became the music.

This was where Rauschenberg began to perfect the idea that he would eventually put this way: "Painting relates to both art and life. Neither can be made.

(I try to act in that gap between the two.)" By the mid-'50s, he was also in a romantic relationship with the artist Jasper Johns. Trading ideas at top speed,

together they were a pivot point between the psychodramas of the Abstract Expressionists who came just before them and the cool ironies of the Pop artists who came after.

Maybe the most enduring idea Rauschenberg left us is that one great task of art is not so much to impose order but to make the most of chaos.

It's connected somehow to the thing we'll always remember most warmly about him:  that he made not making sense ... make sense.

TALKING HEADS - Speaking In Tongues (Robert Rauschenberg )

Label: Sire Records Company
Catalog#: 92-3771-1
Format: Vinyl, LP, Limited Edition
Country: Europe
Released: 1983
Genre: Electronic, Rock Style: Leftfield, Synth-pop, Indie Rock

Credits: Artwork [Cover/Package] by Robert Rauschenberg

. . . read more on Robert Rauschenberg