Author Archives: rob

The beginnings and the endings of movement are the fixed poles of what we might call choreography. Generally we’re concerned with what goes on in between these, in the musicality and dynamics of the body in time and the shapes … Continue reading →

It should be clear by now that our way of studying color does not start with the past – neither with works of the past nor with its theories. As we begin principally with the material, color itself, and its … Continue reading →

Even knowledge, in the final analysis, maintains a relationship with ignorance. But it does so through repression or, in an even more effective and potent way, presupposition. The unknown is that which knowledge presupposes as the unexplored country to be … Continue reading →

In that instant of unconscious response before cognition, was the emotion felt not one of pure joy? And might not that appearance of a smile, without self-awareness, surpassing words, express the fact that “ from the first, not a thing … Continue reading →

When thinking about art as a practice rather than a career, just what is ‘a practice’ and how can it be meaningful for us? The word practice could be a verb or a noun. As a verb, practice refers to … Continue reading →

For the things we have to learn before we can do them, we learn by doing them. Aristotle, The Nichomachean Ethics

How does an aspiring artist bridge the gap between distribution and commerce? We have to be very clever about those things. You have to remember that it’s only a few hundred years, if that much, that artists are working with … Continue reading →

It’s obvious the performing arts – like sport, like fashion, like everything else – are becoming more and more professional, that is to say, commercial. Everywhere, even in the so-called alternative circuits, an all-out effort is on to utilize the … Continue reading →

Only by starting from this situation of man’s relationship with the work of art is it possible to comprehend how this relationship – if it is authentic – is also for man the highest engagement, that is, the engagement that … Continue reading →

“What is felt in the heart is ten, what appears in movement seven.” This expression refers to the following. When a beginner studying the Noh theater learns to gesture with his hands and to move his feet, he will use … Continue reading →