using the arrow buttons.
by clicking on the page.
the page around when zoomed in by dragging it.
the zoom using the slider when zoomed-in.
by clicking on the zoomed-in page.
by entering text in the search field, and select "This Issue" or "All Issues"
by clicking on thumbnails to select pages, and then press the print button.
displays sections with thumbnails and descriptions.
displays a slider of thumbnails. Click on a page to jump.
allows you to browse the full archive.
about your subscription?
Buddhadharma : Spring 2011
buddhadharma: the practitioner’s quarterly spring 2 0 11 70 Inside Art with Kay Larson In its timely wisdom, the Rubin Museum of Art in Manhattan is asking interesting questions about the soft landing being achieved as the Buddha sets a gentle foot in Western culture. The traditional imprint of his teachings, as we know, is an emptiness (a foot- print) given form by the stone that contains and defines it. Grain of Emptiness, the first K AY LARSON is an editor, educator, and art critic who has frequently written for the New York Times. She is currently finishing a book on the encounter between John Cage and D.T. Suzuki and its consequences for the art community. exhibition of internationally renowned contem- porary artists at a museum usually vibrating with brilliant thangkas, plays with that image. What is the form, what is the emptiness, in the transmission of the buddhadharma into the minds and lives of artists? All but one of these five—Sanford Biggers, Theaster Gates, Atta Kim, Wolfgang Laib, and Charmion von Wiegand—say they don’t adhere to formal Buddhist practices. (Von Wiegand, the only one no longer alive, stud- ied with a Tibetan teacher and did regard Grain of Emptiness An exhibition at the Rubin Museum of Art