Robert fulton video biography of rosalind ross
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In the fall of 1953,1 Robert Rauschenberg asked composer John Cage (1912–1992) to bring his Model A Ford to Fulton Street in Lower Manhattan, where Rauschenberg lived and worked. The artist then poured paint in front of the car’s rear tire and directed Cage to drive slowly over twenty sheets of paper that he had glued together. The resulting print records a twenty-two-foot tread mark, about three revolutions of the wheel.2 In the decades since its creation, Automobile Tire Print has been interpreted as a monoprint, a drawing, a performance, a process piece, and a primary example of Rauschenberg’s use of indexical marks. Surprisingly, few scholars have considered it within Rauschenberg’s immediate art historical context—that is, the work and thinking of artists associated with action painting and the New York School—or connected it to Cage’s ideas about process, time, and the structure of music and silence, which intersected with Rauschenberg’s evolving approach to his art and
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‘Hacksaw Ridge’: Mel Gibson and Robert Schenkkan at the Sheen Center
After nearly a decade out of the spotlight, it seems Mel Gibson is everywhere. Last week, at the Samuel Goldwyn Theater in Beverly Hills, he received a 10-minute standing ovation at an Academy screening of his new film, Hacksaw Ridge. Among other interviews and appearances, on Tuesday, he was on The Late Show With Stephen Colbert and did a comic segment with Colbert lying on a picnic blanket ostensibly looking at the stars and musing about life.
On Wednesday, I caught up with Gibson at a Hacksaw Ridge screening at Greenwich Village’s Archbishop Fulton J. Sheen Center for Thought and Culture’s Loreto Theater. (The Loreto Theater is the shooting location for Reel Faith, the movie-review show I co-host with Sheen Center director of film and television David DiCerto for NET, Brooklyn’s New Evangelization Television.)
Prior to the screening, DiCerto introduced Gibson and Hacksaw screenwriter Robert Schenkk
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