Now that I have indulged my notoriously understated sense of humor (perhaps I do myself too great an honor to call it "understated") it is time to return to firmly serious ground, as indeed I already did after the opening paragraph of the previous post. (And I need to explore further the issue of the neo-romantic imagination that Mitchell's work also raises in a different fashion; I haven't really explored it in sufficient depth for over a decade.)
Emory University's Tibet Week (March 23 - 28) will bring two distinguished artists from the Norbulingka Institute—Tenzin Norbu, master thangka painter and teacher, and Dolmakyap Zorgey, scholar and deputy managing director of the Institute. So in that sense we shall have Tibetan-exile contemporary artists in residence at the Carlos Museum, bringing with them thangkas painted by other artists of the Tibetan Government-in-Exile's premier fine-arts center for teaching, training and research.
I write "in that sense" because their mission is to display contemporary examples of traditional thangka painting, which adheres to prescribed rules.