“Best Books” is the subject of an annual workshop at Werkplaats Typografie, Arnhem. “Best Book, Don’t Care or, Poor Form from Fringe Areas” resulted from the 2013 workshop led by Sophie Nys in collaboration with the participants of Year 13 and Year 14. Designed by Roland Früh, Sophie Nys & Yin Yin Wong.

Mitchell Anderson, Marie Angeletti, Tenzing Barshee, Gerry Bibby, Mercedes Bunz, Stefan Burger, David Bussel, Eric D. Clark, Jay Chung, Tony Conrad, Eduardo Costa, Hans-Christian Dany, Nikola Dietrich, Levi Easterbrooks, Martin Ebner, Stephanie Fezer, Julian Göthe, Dunja Herzog, Karl Holmqvist, Stephan Janitzky, Verena Kathrein, Jakob Kolding, Chris Kraus, Veit Laurent Kurz, Quinn Latimer, Park McArthur, Robert McKenzie, Robert Meijer, Luzie Meyer, Ariane Müller, Shahryar Nashat, Viktor Neumann, Theresa Patzschke, Monika Senz, Natasha Soobramanien, Vera Tollmann, Anne Turyn, Antek Walczak, Mikhail Wassmer, Scott C. Weaver, Florian Zeyfang.

Editors: Gerry Bibby, Nikola Dietrich, Martin Ebner, Ariane Müller, Henrik Olesen. Graphic design: Dan Solbach. Cover: Martin Ebner, Shibuya/Sumida, 2017. Park McArthur for Starship, Studs, 2018. 1000 magazines pierced and bejeweled.

This two-part publication has been released in March 2014 on the occasion of the exhibition 01–72 by Daniel Gustav Cramer at SALTS, Basel. It consists of an artist’s book, giving more insight into the project and a reader with texts from Quinn Latimer, Kirsty Bell and an interview interview between Samuel Leuenberger and the artist. Designed by Ronnie Fueglister.

The CCA Wattis Institute in San Francisco dedicates year long seasons of discussions and public events to a single artist. In 2014–15, Joan Jonas was “on our mind.” This book brings together essays from writers, curators, art historians and artists that focus on a single work, from Jonas’ earliest films through her installation for the US Pavilion at the 56th Venice Biennale. The book also contains excerpts from readings and public lectures, and images by some of the other artists whose work was evoked in public and private conversation. Contributors include Jacqueline Francis, Renée Green, Quinn Latimer, Sarah Lehrer-Graiwer, Patricia Maloney, Elizabeth Mangini, Judith Rodenbeck and Lynne Tillman.

Composed in the space between the page and live performance, Latimer’s recent essays and poems collected here examine issues of genealogy and influence, the poverty and privilege of place, architecture’s relationship to language, and feminist economies of writing, reading, and art making. Shifting between written language and live address, between the needs of the internal and the external voice, Like a Woman retrieves the refrain, the litany, and the chorus, exploring their serial ecstasies and political possibilities.