Referencing her own memories and experiences, Brenda Draney explores the layered meanings embedded in everyday motifs and situations. However, instead of simply reproducing these elements, the Canadian artist is more interested in addressing how their meanings can shift when filtered through individual interpretation. Furthermore, by deliberately leaving blank spaces in her paintings, Draney leaves room for viewers to deeply reflect on the subject matter presented. Audiences are invited to connect to the wide range of emotions tied to the nuanced experience of intimacy that the artist explores in her works. The catalog, which is published in conjunction with Draney’s first solo exhibition at The Power Plant Art Gallery in Toronto, features a selection of existing and newly commissioned work, as well as various contributions from Canadian scholars and poets.

Everything is Relevant: Writings on Art and Life, 1991-2018 brings together texts by Canadian artist Ken Lum. They include diary entries, articles, catalogue essays, curatorial statements, a letter to an editor, and more. Along the way, the reader learns about late modern, postmodern, and contemporary art practices, as well as debates around issues such as race, class, and monumentality. Penetrating, insightful, and often moving, Lum's writings are essential for understanding his varied practice, which has often been prescient of developments within contemporary art.

What is an appropriate monument for the current city of Philadelphia? That was the question posed by the curators, artists, scholars, and students who comprise the Philadelphia-based public art and history studio Monument Lab. And in 2017, along with Mural Arts Philadelphia, they produced and organized a groundbreaking, city-wide exhibition of temporary, site-specific works that engaged directly with the community. The installations, by a cohort of diverse artists considering issues of identity, appeared in iconic public squares and neighborhood parks with research and learning labs and prototype monuments. Monument Lab is a fabulous compendium of the exhibition and a critical reflection of the proceedings, including contributions from interlocutors and collaborators. The exhibition and this handbook were designed to generate new ways of thinking about monuments and public art as well as to find new, critical perspectives to reflect on the monuments we have inherited and to imagine those we have yet to build. Monument Lab energizes acivic dialogue about place and history as forces for a deeper questioning of what it means to be Philadelphian in a time of renewal and continuing struggle. Contributors: Alexander Alberro, Alliyah Allen, Laurie Allen, Andrew Friedman, Justin Geller, Kristen Giannantonio, Jane Golden, Aviva Kapust, Fariah Khan, Homay King, Stephanie Mach, Trapeta B. Mayson, Nathaniel Popkin, Ursula Rucker, Jodi Throckmorton, Salamishah Tillet, Jennifer Harford Vargas, Naomi Waltham-Smith, Bethany Wiggin, Mariam I. Williams, Leslie Willis-Lowry, and the editors. Artists: Tania Bruguera, Mel Chin, Kara Crombie, Tyree Guyton, Hans Haacke, David Hartt, Sharon Hayes, King Britt and Joshua Mays, Klip Collective, Duane Linklater, Emeka Ogboh, Karyn Olivier, Michelle Angela Ortiz, Kaitlin Pomerantz, RAIR, Alexander Rosenberg, Jamel Shabazz, Hank Willis Thomas, Shira Walinsky and Southeast by Southeast, and Marisa Williamson.

Born in the remote northern community of Fort St. John, British Columbia to an Indigenous mother and a Swiss-Canadian father, Brian Jungen's dual heritage often provides the themes and subject matter for his work. Over the past twenty years, he has created an extensive and imaginative body of sculpture using repurposed material. This book looks at over 80 sculptures, drawings, and film stills, from whale skeletons composed of white plastic chairs and gas cans decorated with floral bead-work designs to totem pole-like forms constructed out of golf bags and Northwest Coast masks made out of repurposed sneakers. The book also includes a selection of archival materials including photographs, images of the artist working, unrealized works, and research pictures. Essays, an interview with the artist, and a timeline round out this generously illustrated book that details Jungen's deep material explorations which highlight a long history of inequality, a concern for the environment, and a profound commitment to Indigenous ways of knowing and making.