Esopus 24 includes long-form artists’ projects by Carlos Amorales, Ted Barker, Hayden Dunham, Marco Maggi, Tony Tasset, and Jane and Louise Wilson. Other contents include an interview with translator Ann Goldstein (perhaps best known for her English translation of Elena Ferrante’s novels), who will also translate submissions in Italian from Esopus readers for the issue’s subscriber invitational; never-before-published photographs from the early 1970s by Arthur Tress; a piece on the stunning quilts of Ernest B. Haight (1899–1992); a new installment of our regular series, “Modern Artifacts,” featuring archival material from The Museum of Modern Art archives reproduced in facsimile; as well as the first appearance of “Public Access,” a new series copresented with the New York Public Library which features items from the Library’s Carl H. Pforzheimer Collection of Shelley and His Circle.
“No Boundaries,” the buoyant track by Actual Magic on this issue’s Pioneer Sessions audio compilation CD, neatly sums up the underlying theme of Esopus 24. Much of the content in these pages concerns itself with boundaries—between countries, cultures, languages, genders, and more—and in many cases, with using creativity as a way to breach them.
This active border crossing (if not border erasing) not only offers a hopeful alternative to the disconcerting political tribalism currently afflicting the world, it handily reflects the goals of Esopus: to desegregate creative disciplines, to push beyond the typical constraints of traditional printing, and to close the gap between contributors and audience.
For all of that to happen, every issue of Esopus requires our readers to engage directly with—and in many instances, manipulate or even complete—much of its content, even it if means altering or destroying the issue’s form in the process.