“Call That Art? I Call It Bad Eyesight”: Seeing or Not Seeing in the Context of Responsive Art Practice
In response to the idea that static representation might “capture” or “halt” the eventfulness of life, Lovejoy invites the reader to consider move-ability in the doings of images and texts. Here reductive re-presentation is refused calling on our sense-abilities to see—that is perceive things in their real contexts. A focus on context is a focus on what happens rather than on a thing that is in the world. Loitering with intent in a series of vignettes she invites you to “vade mecum … go with me” as she revisits past projects in an attempt to re-present experiential complexities of practice through narrative c/artographies.
- Carter, P. (2007). Interest: The ethics of invention. In E. Barrett & B. Bolt (Eds.), Practice as research: Approaches to creative arts enquiry. London, UK: I. B. Tauris.Google Scholar
- Gablik, S. (1991). The re-enchantment of art. London: Thames and Hudson.Google Scholar
- Griffiths, J. (2008). Wild: An elemental journey. London, UK: Penguin.Google Scholar
- Guest, A. (2009). Artists and places—The time for a new relationship and a new agenda. Retrieved from http://archive.publicartscotland.com/features/11-ARTISTS-AND-PLACES-the-time-for-a-new-relationship-and-a-new-agenda.
- Hattenstone, S. (1998, April 29). Love letters to my dead child. The Guardian, pp. 14–15.Google Scholar
- Ingold, T. (1993). The temporality of the landscape. World Archaeology, 25(2), 152–174.Google Scholar
- Ingold, T. (2000). The perception of the environment: Essays on livelihood, dwelling and skill. London, UK: Routledge.Google Scholar
- Ingold, T. (2006). Rethinking the animate, re-animating thought. Ethos, 71, 9–20.Google Scholar
- Johnson, S. (2010). The glass box and the commonplace book. Transcript of the Hearst New Media lecture at Columbia University. Retrieved from http://www.stevenberlinjohnson.com/2010/04/the-glass-box-and-the-commonplace-book.html.
- Kaprow, A. (1993). Essays on the blurring of art and life. Berkeley: University of California Press.Google Scholar
- Katz, S. (2003). Wild fermentation: The flavor, nutrition, and craft of live-culture foods. White River Junction, VT: Chelsea Green.Google Scholar
- Kember, S. (2013). Ambient intelligent photography. In M. Lister (Ed.), The photographic image in digital culture. Oxford, UK: Routledge.Google Scholar
- Koh, J. (2010). Artist’s research text on methodology. Helsinki, UK: The Finnish Academy of Fine Arts. Retrieved from http://www.ifima.net/ifima/personal/jaybio.htm.
- Law, J. (2004). After method: Mess in social science research. London and New York: Routledge.Google Scholar
- Lippard, L. (1997). The Lure of the local: Senses of place in a multicultural society. New York, NY: The New Press.Google Scholar
- Lippard, L. (1999). On the beaten track; Tourism, art and place. New York, NY: The New Press.Google Scholar
- Lister, M. (1998). Catalogue essay. Afterimages: A re-presentation of selected works by Annie Lovejoy 1993–1998. Bristol, UK: InSites Publishing.Google Scholar
- Massey, D. (2005). For space. London: Sage.Google Scholar
- Murdin, A. (2010). Common places: An artist’s brief. In Wide Open Space: Developing creative places in dorset. Bristol, UK: Willis and Newson.Google Scholar
- O’Donohue, J. (1999). Anam Cara: Spiritual wisdom from the Celtic world. London, UK: Bantam Books.Google Scholar
- Raven, A. (1995). A word of honour: The critics voice. In S. Lacy (Ed.), Mapping the terrain: New genre public art. Seattle, WA: Bay Press.Google Scholar
- Rubinstein, D., & Sluis, K. (2013). The digital image in photographic culture: Algorithmic photography and the crisis of representation. In M. Lister (Ed.), The photographic image in digital culture. Oxford, UK: Routledge.Google Scholar
- Sontag, S. (1994). Against interpretation. London, UK: Vintage.Google Scholar
- Stiles, K., & Selz, P. (1996). Theories and documents of contemporary art: A sourcebook of artists’ writings. Berkeley: University of California Press.Google Scholar