This seminar-in-the-forest led by curator and writer Amish Morell will begin at the site of a 600 year-old Iroquois village that sits on the edge of the escarpment, where it overlooks the land of present-day Toronto.
The concept of a WET issue emerged as a way to elicit both artwork and criticism that deviates from a tendency in contemporary art towards practices that are intellectually abstract, often highly frenetic, and detached from physical places and bodily experiences.
In this issue we look at the work of artists who use walking as their medium. Recently there have been numerous exhibitions, publications and research projects that deal with walking as an aesthetic practice.
One of the most glaringly obvious problems in much of contemporary art criticism is its stark lack of social and geographic diversity. As Editor of a magazine that purports to be both national and international in its scope and readership, by far the greatest number of proposals I receive are from major urban centres and propose covering major public art galleries and/or artists with significant commercial representation.