An essay with the reach and momentum of a novel, Kate Briggs’s This Little Art is a genre-bending song for the practice of literary translation, offering fresh, fierce and timely thinking on reading, writing and living with the works of others. Taking her own experience of translating Roland Barthes’s lecture notes as a starting point, the author threads various stories together to give us this portrait of translation as a compelling, complex and intensely relational activity. She recounts the story of Helen Lowe-Porter’s translations of Thomas Mann, and their posthumous vilification. She writes about the loving relationship between André Gide and his translator Dorothy Bussy. She recalls how Robinson Crusoe laboriously made a table, for him for the first time, on an undeserted island. With This Little Art, a beautifully layered account of a subjective translating experience, Kate Briggs emerges as a truly remarkable writer: distinctive, wise, frank, funny and utterly original.

This latest book by the artist Moyra Davey is based on two related group of works, Les Goddesses (2011) and Hemlock Forest (2016), which each take form through text, photography, and film. Layering introspection and personal narratives with meditations on the lives and works of other writers, filmmakers, and artists—ranging from 18th-century feminist writer and activist Mary Wollstonecraft to Chantal Akerman, and Moyra Davey’s own five sisters. The book is conceived and published in collaboration with the artist Galerie Buchholz and Dancing Foxes Press. The book contains, alongside numerous reproductions, an introductory text by Aveek Sen and transcriptions of the texts for both film projects by the artist.

Published on the occasion of Mechanisms, a group exhibition at CCA Wattis Institute (October 12, 2017 to February 24, 2018). It includes an essay by curator Anthony Huberman as well as contributions from artists Zarouhie Abdalian, Terry Atkinson, Lutz Bacher, Eva Barto, Neil Beloufa, Patricia L. Boyd, Jay DeFeo, Harun Farocki, Richard Hamilton, Aaron Flint Jamison, Jacob Kassay, Garry Neill Kennedy, Louise Lawler, Park McArthur, Jean-Luc Moulène, William Pope.L, Charlotte Posensenke, Cameron Rowland, and Danh Vo. Trisha Donnelly designed the cover.

Instead of documenting the exhibition, the catalogue reflects and expands on some of its core ideas. Designed by Scott Ponik and Julie Peeters, the book’s fabrication makes use of different printing techniques and “machines,” including an offset printer, a letterpress, and thermography, as well as a wide range of natural and synthetic paper stocks. Contributions by each of the exhibiting artists range from photo essays, theoretical essays, video transcripts and stills, interviews, and works designed especially for the page.

A prolific writer and documenter of both her art and her relationships, the public and private, Lee Lozano kept a series of personal journals from 1968 to 1972 while living in New York’s SoHo neighbourhood. Eleven of these private books survive, containing notes on her work, detailed interactions with artist friends and commentary on the alienations of gender politics, as well as philosophical queries into art’s role in society and humorous asides from daily life.

A prolific writer and documenter of both her art and her relationships, the public and private, Lee Lozano kept a series of personal journals from 1968 to 1972 while living in New York’s SoHo neighbourhood. Eleven of these private books survive, containing notes on her work, detailed interactions with artist friends and commentary on the alienations of gender politics, as well as philosophical queries into art’s role in society and humorous asides from daily life.

This complex book by Manfred Pernice goes back to an exhibition at Museum Ludwig Cologne in 2007. At that time, he had combined the early work ­Bibette Headland (1999) with Haldensleben (2005) a work developed further specifically for the exhibition, and the Hotel Hangelar (2007), exhibited for the first time back then. These three large and, to some extent, accessible sculptures refer to the architecture of bunkers, airport towers and small town neighborhoods. Today, after a decade, it is clear that these three sculptures occupy a central ­position in the work of the artist. They illustrate Pernice’s long-standing examination of the historical and socio-political contexts of ­architecture and the aesthetics of everyday life. At the same time, his sculptures, despite their references to reality and history, exist as independent objects, as ­objectification, that present themselves in a productive reciprocal relationship of the familiar and the foreign, turning aesthetic experience into insight. The book displays, for the first time, the varied text and image material of Manfred ­Pernice’s research and ­presents it together with a survey of the realized works of art at Museum Ludwig Cologne. Texts (German/English) by Barbara Engelbach, Yilmaz Dziewior, Kasper König and various facsimiles.