‘The Quarrel with Ourselves’. An Interview with Marjorie Perloff

Naomi Toth,Marjorie Perloff

doi:10.12681/syn.27565

Abstract

Interview

Highlights

Naomi Toth: Documentary poetic practices are often described as shifting attention to the concrete and the particular, in reaction to idealistic conceptions of artistic autonomy or as a means of resisting ideological recuperations of art in the name of higher principles—of which justice might be one
We think of documentary as resisting ideological recuperations, but does it do so? Think of Gillo Pontecorvo’s great 1966 film The Battle of Algiers
N.T.: Pontecorvo’s film is an interesting example: though it gives the impression that events are captured as they unfold in the manner of documentary, it is a reconstitution filmed nearly a decade after the actual battle of Algiers

Summary

Introduction

Naomi Toth: Documentary poetic practices are often described as shifting attention to the concrete and the particular, in reaction to idealistic conceptions of artistic autonomy or as a means of resisting ideological recuperations of art in the name of higher principles—of which justice might be one. As you point out, conceptual artists shy away from making judgments but the reason their works are often dubious is that this ‘shying away’ is hypocritical.

Results

Conclusion