A State of Observance
"But now, the performance in the atrium seemed to hark back to the long-toppled notion of art’s special power: as inspiring awe, an exalted state of consciousness, a thrilling wonderment at one’s smallness in the face of mysteries beyond human understanding—in short, the artistic sublime. In its most radical exhibit ever, was MoMA returning us to a hushed and holy notion of museum as sacred space?" -- Alisa Solomon on the MOMA exhibit, "The Artist is Present," by Marina Abramović, from Killing the Buddha.
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“But now, the performance in the atrium seemed to hark back to the long-toppled notion of art’s special power: as inspiring awe, an exalted state of consciousness, a thrilling wonderment at one’s smallness in the face of mysteries beyond human understanding—in short, the artistic sublime. In its most radical exhibit ever, was MoMA returning us to a hushed and holy notion of museum as sacred space?” — Alisa Solomon on the MOMA exhibit, “The Artist is Present,” by Marina Abramović, from Killing the Buddha.