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Issue 121

121

Issue Contents

Editorials
  1. Amish Morrell
    Editorial: Walking — Read Text
Columns
  1. Dylan Gordon
    Artefact: Mushroom Magic, Mushroom Gold — Abstract
  2. Sasha Sobrino
    Inventory: Walking — Abstract
  3. Malcom Sutton
    On Writing: Group Writing — Abstract
  4. unknown
    Primer: The Walking Library — Abstract
Features
  1. Randy Lee Cutler
    On Speculative Walking: From the Peripatetic to the Peristaltic — Read Text
  2. Jon Davies
    Sissy Boys on Youtube: Notes Towards a Cultural History of Online Queer Childhood — Abstract
  3. Eugenia Kisin
    Walking with Artists — Abstract
  4. Simon Pope
    Walking Transformed: The Dialogics of Art and Walking — Read Text
Artist's Projects
  1. Sheilah Wilson (text by Stephen Horne)
    The Visible Inside the Invisible, text by Stephen Horne — Abstract
Reviews
  1. Zoë Chan
    Minor Threats — Abstract
  2. Michael DiRisio
    It’s the Political Economy, Stupid: The Global Financial Crisis in Art and Theory, Edited by Gregory Sholette & Oliver Ressler — Abstract
  3. Adrienne Fitzpatrick
    Will Gill: Bloodredlife — Abstract
  4. Sydney Hart
    Samuel Roy-Bois: Not a new world, just an old trick — Abstract
  5. Gloria Hickey
    Kailey Brian: Bits & Places — Abstract
  6. Stephen Horne
    Garry Neill Kennedy: PATTISON — Abstract
  7. Joni Low
    Land|Slide: Possible Futures — Abstract
  8. J. J. Kegan McFadden
    Zachari Logan: Fugitive Garden — Abstract
  9. Andrew James Paterson
    Explosion in the Movie Machine: Essays and Documents on Toronto Artists’ Film and Video, Edited by Chris Gehman — Abstract
  10. Ben Portis
    Surface Tension — Abstract
  11. Penelope Smart
    As Perennial as the Grass — Abstract
  12. Michael Vass
    Artists' Walks: The Persistence of Peripateticism — Abstract
  13. Susan Walker
    Tom Dean: Mercy — Abstract
  14. Heather White
    Art as Therapy, by John Armstrong and Alain de Botton — Read Text
Interviews
  1. Earl Miller
    The Walk Exchange: Pedagogy and Pedestrianism, An Interview with Moira Williams — Abstract