“Call That Art? I Call It Bad Eyesight”: Seeing or Not Seeing in the Context of Responsive Art Practice

  • Annie LovejoyEmail author


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.


  1. 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
  2. Gablik, S. (1991). The re-enchantment of art. London: Thames and Hudson.Google Scholar
  3. Griffiths, J. (2008). Wild: An elemental journey. London, UK: Penguin.Google Scholar
  4. Guest, A. (2009). Artists and places—The time for a new relationship and a new agenda. Retrieved from
  5. Hattenstone, S. (1998, April 29). Love letters to my dead child. The Guardian, pp. 14–15.Google Scholar
  6. Hawkins, H. (2015). Creative geographic methods: Knowing, representing intervening. Cultural Gaeographies, 22, 247–268.CrossRefGoogle Scholar
  7. Ingold, T. (1993). The temporality of the landscape. World Archaeology, 25(2), 152–174.Google Scholar
  8. Ingold, T. (2000). The perception of the environment: Essays on livelihood, dwelling and skill. London, UK: Routledge.Google Scholar
  9. Ingold, T. (2006). Rethinking the animate, re-animating thought. Ethos, 71, 9–20.Google Scholar
  10. Johnson, S. (2010). The glass box and the commonplace book. Transcript of the Hearst New Media lecture at Columbia University. Retrieved from
  11. Kaprow, A. (1993). Essays on the blurring of art and life. Berkeley: University of California Press.Google Scholar
  12. Katz, S. (2003). Wild fermentation: The flavor, nutrition, and craft of live-culture foods. White River Junction, VT: Chelsea Green.Google Scholar
  13. Kember, S. (2013). Ambient intelligent photography. In M. Lister (Ed.), The photographic image in digital culture. Oxford, UK: Routledge.Google Scholar
  14. Koh, J. (2010). Artist’s research text on methodology. Helsinki, UK: The Finnish Academy of Fine Arts. Retrieved from
  15. Law, J. (2004). After method: Mess in social science research. London and New York: Routledge.Google Scholar
  16. Lippard, L. (1997). The Lure of the local: Senses of place in a multicultural society. New York, NY: The New Press.Google Scholar
  17. Lippard, L. (1999). On the beaten track; Tourism, art and place. New York, NY: The New Press.Google Scholar
  18. Lister, M. (1998). Catalogue essay. Afterimages: A re-presentation of selected works by Annie Lovejoy 1993–1998. Bristol, UK: InSites Publishing.Google Scholar
  19. Massey, D. (2005). For space. London: Sage.Google Scholar
  20. 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
  21. O’Donohue, J. (1999). Anam Cara: Spiritual wisdom from the Celtic world. London, UK: Bantam Books.Google Scholar
  22. 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
  23. 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
  24. Sontag, S. (1994). Against interpretation. London, UK: Vintage.Google Scholar
  25. Stiles, K., & Selz, P. (1996). Theories and documents of contemporary art: A sourcebook of artists’ writings. Berkeley: University of California Press.Google Scholar
  26. Tolia-Kelly, D. (2011). The geographies of cultural geography II: Visual culture. Progress in Human Geography, 36, 135–142.CrossRefGoogle Scholar
  27. Wachtel, E. (1993). The first picture show: Cinematic aspects of cave art. Leonardo, 26, 135–140.CrossRefGoogle Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  1. 1.FalmouthUK

Personalised recommendations