![]() ![]() The most recent issue of Esopus, number fifteen, is themed around television. I don’t believe for a second that contemporary art really should only be seen or discussed or appreciated by people with master’s degrees in art history or gallerists - it just doesn’t make any sense to me. ![]() According to a piece in the New York Times from when Esopus first launched, Lippy was responsible for every aspect of the magazine’s production. The magazine was about 150 pages long there were little booklets to pull out, posters printed in gorgeous inks and special paper, and a compilation CD attached to the inside back cover featuring songs by bands like Frightened Rabbit and Savoir Adore. #Picatext instructions series#The issue I bought in anticipation of meeting Lippy, number thirteen, included, among other things, a portfolio of work by a severely autistic 22-year-old, a series of marked up manuscript pages from a memoir by poet Jennifer Moxley, an essay by the rare book librarian Marjorie Wynne, and a short piece by a guard from the New Museum about Urs Fischer. Lippy’s magazine was Esopus, an impossibly beautiful thing that had been coming out twice a year since 2003 and was full, every time, of interviews with artists and filmmakers and musicians, archival materials from the Museum of Modern Art, and consistently arresting artwork by people I’d never heard of. An artist I’d met recently put me in touch with him because she saw I was trying to figure out how the art world worked, and thought Lippy, a magazine editor who knew the art world but deliberately avoided participating in it directly, would be able to help. I met Tod Lippy last winter, right as I was starting to report on the art beat for the New York Observer. ![]()
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