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Buddhadharma : Winter 2018
In “The Body Object Series” (pages 66, 72, and 78) ann hamilton takes up inanimate objects and joins them to the body, changing both their function and how we relate to them psychologically. Known for her large-scale multimedia installations—often surprising combin- ations of object-making and perform- ance—Hamilton has said, “[M]ore important than the things themselves is the way they come into relation.” She received the National Medal of Arts in 2015 and has taught at Ohio State Uni- versity since 2001. tsherin sherpa began studying trad- itional Tibetan thangka painting at the age of twelve with his father, a renowned thangka artist himself. After studying computer science and Mandarin in Tai- wan, he returned to his birthplace of Nepal, where he collaborated with his father on several important projects, including monastery mural paintings. In 1998, he immigrated to California and began to explore his own colorful style, incorporating his skills as a thangka painter into the thoroughly modern approach we see on this issue’s cover. The work of tenmyouya hisashi uses modern subjects and materials, but in a style that still clearly echoes traditional Japanese painting. In 2010 he introduced what he calls “Basara”—extravagant work that brings a samurai aesthetic to anti-authority, anti-aristocratic street culture. It represents a counter, he says, to “the traditional values of wabi-sabi and Zen.” On page 110, we see his “Neo Thousand-armed Kannon,” which speaks to how faith and violence are, in Hisashi’s words, “two sides of the same thing.” ABOUT THE ART (TOP-BOTTOM)PHOTOBYMICHAELMERCIL/COURTESYOFANNHAMILTONSTUDIO,COURTESYOFTSHERINSHERPAANDROSSI&ROSSI,PHOTOBYMATSUKAGE BUDDHADHARMA: THE PRACTITIONER’S QUARTERLY 13