"Eminently readable and extremely meaningful. The contributors tackle essential questions about the relationship of art and life. The book is also very timely, offering a way to approach Buddhism through unexpected channels."--Lynn Gumpert, Director, Grey Art Gallery, New York University

"The relations between eastern and western cultures have long been a neglected topic, and this careful and intelligent look at a small but significant part of those relations is most welcome."--Thomas McEvilley, author of The Shape of Ancient Thought "How wonderful that Jacquelynn Baas has seen the light of the Buddha's smile shining from faraway Asia into the realm of the art of modern times in what we think of as the West! . . . Her work reveals how some of our most influential artists explored and expressed the sophisticated perceptions and joyful energy emanating from the realm of Buddhist Asia."--Robert A. F. Thurman "As a Buddhist scholar and artist I welcome this thoughtful and richly detailed study of how many aspects of Buddhism have stimulated, invigorated, and enriched Western arts over the past 150 years."--Stephen Addiss, author of The Art of Zen "A crucial contribution to modern art studies, this high-spirited text surveys Western artists awakened by the wisdom of the East, from Monet and Duchamp to O'Keeffe to Martin. It is a thoughtful book about thoughtful artists, their values and their visions, with a lot to offer general readers and specialists alike."--Charles Stuckey, Associate Professor of Art History at the School of the Art Institute of Chicago

"Learning Mind: Experience Into Art is astonishing in its range of authors, depths of perception, and subjects, gliding elegantly among three thematic clusters, from 'Being of Being an Artist' to 'Making Art and Pedagogy' and, finally, to 'Experiencing Art.' The editors have brilliantly and imaginatively realized the promise of their anthology's tantalizing, terse title."--Moira Roth, author of Traveling Companions/Fractured Worlds "Jacob and Baas have gathered together an exceptional group of some of the most articulate writers about art of this generation, as well as some of the most intelligent, thoughtful, esteemed and socially engaged artists. The Learning Mind invites them to speak from their own experiences with art; what emerges are important biographical moments of insight about the way art is a device for transforming consciousness."--Jennifer Gonzalez, University of California, Santa Cruz

Published in conjunction with an exhibition held at the Rubin Museum of Art, Nov. 5, 2010-Apr. 11, 2011.

This book addresses one of the most troubling questions of contemporary art theory and practice: Who is contemporary art for? Although the divide between contemporary art and the public has long been acknowledged, this is the first time that artists, critics, and the public have come together to debate the problem and to make artmaking, criticism, and public reaction part of the same process. Like the exhibitions, discussions, and seminars held at "The Castle" during the summer 1996 Olympic Games in Atlanta, this book is based on the premise that contemporary artists and the general public have something to say to each other. By positing the space of "conversation" as one in which artworks can be experienced as creative sites open to multilayered interpretations by changing audiences, the book provides an antidote to the modernist connoisseurial silence that has long been used to define quality. The book is divided into three sections. The first contains essays by project curator Mary Jane Jacob, critic and coeditor Michael Brenson, and cultural critic Homi K. Bhabha. Their essays describe fresh approaches to contemporary art and its audiences at a time of increased access through technology and decreased government funding. The second section contains essays by the six artists/collaborative teams involved in the project. Their works, aimed at public participation, included installation-performances, collaborations with Atlanta communities, cross-country tours, and the creation and presentation of food as a means to stimulate conversation and construct community. The artists are: artway of thinking (Italy), Ery Camara (Senegal/Mexico), Mauricio Dias and Walter Riedweg (Brazil/Switzerland), Regina Frank (Germany), IRWIN (Slovenia), and Maurice O'Connell (Ireland).The final section contains seven essays by the critics, curators, educators, administrators, and artists who led the "Conversations on Culture" at The Castle. The essays are by Jacquelynn Baas, Michael Brenson, Lisa Graziose Corrin, Amina Dickerson and Tricia Ward, Steven Durland, Susan Krane, and Susan Vogel.

Jesus, Moses, Mohammed, Gandhi, and the Buddha all had brains built essentially like anyone else's, yet they were able to harness their thoughts and shape their patterns of thinking in ways that changed history. With new breakthroughs in modern neuroscience and the wisdom of thousands of years of contemplative practice, it is possible for us to shape our own thoughts in a similar way for greater happiness, love, compassion, and wisdom. Buddha's Brain joins the forces of modern neuroscience with ancient contemplative teachings to show readers how they can work toward greater emotional well-being, healthier relationships, more effective actions, and deepened religious and spiritual understanding. This book will explain how the core elements of both psychological well-being and religious or spiritual life-virtue, mindfulness, and wisdom--are based in the core functions of the brain: regulating, learning, and valuing. Readers will also learn practical ways to apply this information, as the book offers many exercises they can do to tap the unused potential of the brain and rewire it over time for greater peace and well-being.

In Living Buddhism, Julia Cassaniti explores Buddhist ideas of impermanence, nonattachment, and intention as they are translated into everyday practice in contemporary Thailand. Although most lay people find these philosophical concepts difficult to grasp, Cassaniti shows that people do in fact make an effort to comprehend them and integrate them as guides for their everyday lives. In doing so, she makes a convincing case that complex philosophical concepts are not the sole property of religious specialists and that ordinary lay Buddhists find in them a means for dealing with life's difficulties. More broadly, the book speaks to the ways that culturally informed ideas are part of the psychological processes that we all use to make sense of the world around us.In an approachable first-person narrative style that combines interview and participant-observation material gathered over the course of two years in the community, Cassaniti shows how Buddhist ideas are understood, interrelated, and reinforced through secular and religious practices in everyday life. She compares the emotional experiences of Buddhist villagers with religious and cultural practices in a nearby Christian village. Living Buddhism highlights the importance of change, calmness (as captured in the Thai phrase jai yen, or a cool heart), and karma; Cassaniti's narrative untangles the Thai villagers' feelings and problems and the solutions they seek.