High Tension: Montage '93

High Tension: Montage '93

Studio Arts, Creative Writing

"Johanna Drucker, The Next Word: ""The pages of [High Tension] are cut at the edge in that triangular shape. It's about anxiety, and it pricks your fingers as you turn the pages."" Renee Riese Hubert & Judd D. Hubert, The Cutting Edge of Reading: Artists' Books: ""[High Tension] overwhelms us with a surprisingly varied profusion of images. Each of the many double pages introduces at least one radically new picture having more often than not merely a marginal relationship with those that had preceded. We must process these words somewhat gingerly in terms of our own past experiences when immediate recognition fails. It would therefore appear that unpredictability characterizes the selection and succession of the graphics. Each new image has its own motif and its own color scheme. Dealing in its own way with representation, it imposes its own focus and its own scale to which the reader must adapt. Thus, each turning of a page practically guarantees a further disruption and reduces any hope that we may have entertained of discovering either a formal or a thematic continuity. Instead, it calls forth unsuspected resources within us. Surprise follows surprise without affording a moment of relaxation. Each page relentlessly renews the shock of novelty, but in so titillating a manner that we must dwell on each image without any desire to skip. The artist has of course abandoned or deliberately misapplied expected formats. The pages may overlap, but they never coincide with one another. Deviation happens on two levels: each page slants diagonally and, when turned, symmetrically prolongs across the gutter the preceding one. Thus, two successive pages point in opposite directions while jointly providing a partially coherent and integrated image — partially, because fragments of images from other double pages show a propensity to migrate or, if we may use a medical term in describing a pictorial and psychological venture, metastasize. As we move along, we can hardly avoid twisting and turning the book around for successive viewings of the double paged pictures. Obviously, we can no longer rely on the measured progress so characteristic of reading. Moreover, the angularity of the pages greatly increases the nervous energy of their graphic and verbal content. ..."" http://www.vampandtramp.com/finepress/s/spaceheater-editions.html"

Zimmermann, Philip

Visual Studies Workshop Press

1993

Scope, Physical Description, and Images from Vamp and Tramp http://www.vampandtramp.com/finepress/s/spaceheater-editions.html

"5.5 x 7.9""; 96 pages. Pentagon with 4"" spine and each of the other sides 4.25"". Unmatched irregularly cut pages. Offset printed.

Denison's copy is signed by the artist."

English

35108007255326

DEN Spec Coll N7433.4.Z56 .H55 1993