<p>Glenn Ligon is one of the preeminent members of a generation of American artists who came to prominence in the late 1980s with conceptually-based paintings, photographs and text-oriented works concerning the social, linguistic and political constructions of race, gender and sexuality. Incorporating sources as diverse as photographic scrapbooks and Richard Pryor's stand-up comedy routines--his lush coal-dust paintings of excerpts from James Baldwin's 1955 essay "Stranger in the Village," for instance--Ligon's art is a meditation on representation of the self in relation to culture and history. Handsomely designed with a hardcover slipcase, <i>Some Changes</i> is the artist's first significant monograph. Well-illustrated texts by critics and curators Wayne Baerwaldt, Huey Copeland, Darby English, Wayne Koestenbaum and Mark Nash survey Ligon's works from 1982 to 2005, and a candid interview with Toronto artist Stephen Andrews delves into Ligon's personal insights and professional experiences.</p>

Glenn Ligon: Some Changes

Arts & Photography

Koestenbaum, Wayne

English, Darby

Copeland, Huey

Baerwaldt, Wayne

Nash, Mark

History & Criticism

The Power Plant

Very red and very shiny, this artist's book--also the catalogue for Lawrence Weiner's show at the Power Plant in Toronto--collects a variety of sentences and statements by the veteran Conceptualist, typeset with Weiner's customary care, and accompanied by a text by poet Wystan Curnow, and an essay by Gregory Burke. It is printed in a limited edition of 900.

Lawrence Weiner: The Other Side of A Cul-De-Sac

Curnow, Wystan

Individual Artists

In her multi-channel video works, internationally acclaimed artist Candice Breitz (born 1972) investigates how both our sense of self and our relations with others are shaped by media culture. Same Same accompanies her first major exhibition in North America, and features projects from 2000-2009. It premiers "Factum" (2009), which is named after two Robert Rauschenberg Combine paintings from 1957, and constitutes a series of video portraits of seven sets of identical twins and one set of identical triplets. This is the first work by Breitz to engage directly with biographical themes. With nearly 100 full-color illustrations, Same Same features an extensive section on "Factum" and its making, plus a wealth of illustrations of key works from Breitz's oeuvre: "Him + Her" (1968-2008), "Legend (A Portrait of Bob Marley)" (2005), "Becoming" (2003), "Soliloquy Trilogy" (2000) and "Four Duets" (2000).

Candice Breitz: Same Same

Pae White's work roams exuberantly across genres from furniture, textiles and graphic design to sculptural installations, in particular her monumental tapestries that form the focus of this clothbound volume. It particularly highlights Sea Beast, a 2010 work commissioned by The Power Plant, which incorporates a found macramé wall hanging.

Pae White: Material Mutters

Zybok, Oliver

Emerling, Susan

Entertainment is a critical reader accompanying the Vancouver artist’s recent exhibition of photographs at The Power Plant in Toronto. This body of work is a meticulous studio project for which Douglas assumed the identity of a character working as a Weegee-esque photojournalist and commercial photographer in midcentury Vancouver.

Stan Douglas: Entertainment

Photography & Video

Speak, Memory is a critical reader accompanying Los Angeles-based Kerry Tribe’s (born 1973) exhibition at the Power Plant. It includes artwork reproductions, an annotated script from her film There Will Be _______(2012), as well as texts by Eli Horwatt, Mark Godfrey and Melanie O’Brian.

Kerry Tribe: Speak, Memory: Power Plant Pages

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