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                <text>"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 &amp;amp; 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. ...""&lt;a href="http://www.vampandtramp.com/finepress/s/spaceheater-editions.html"&gt; http://www.vampandtramp.com/finepress/s/spaceheater-editions.html&lt;/a&gt;"</text>
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                <text>Scope, Physical Description, and Images from Vamp and Tramp &lt;a href="http://www.vampandtramp.com/finepress/s/spaceheater-editions.html"&gt;http://www.vampandtramp.com/finepress/s/spaceheater-editions.html&lt;/a&gt;</text>
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                <text>"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.&#13;
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                <text>Studio Arts, Spanish, Latin American and Caribbean Studies</text>
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                <text>"Philip Zimmermann: The narrative line of this book uses a combination of photoimagery and text to show the fear, fury and exasperations of life in and around Mexican border towns (but especially Ciudad Juarez) in these times of narco-terrorism. I used to live across from the border from Juarez, went there all the time, and I know it well. The images are photographs that are a combination of my photographs and Mexican police photos. The narrative text is Leon de la Rosa’s stream of consciousness of his life in the northern border towns of Mexico. The ‘spanglish’ text written by a Mexican national from Ciudad Juarez, León de la Rosa. Using a collaborative hybrid of both text and imagery, we sought to get the emotional tenor and frustration of this border life across to a broad audience of both English and Spanish speakers. With the exception of the bright green end sheets, the entire interior of the book is submerged in a blood red, with the text dropped out to white. Green, red and white are the colors of the Mexican flag. The images printed in black enlarged halftone are photos that have the look and rawness of coming from tabloid or popular cheap newspapers. The exterior edges of the text block are black. This artists’ book has been gestating for about ten years, and in 2012, I finally found a sympathetic and authentic collaborating writer for the voice of the text, There are very few collaborative works like this about the current drug wars, that I know of, especially ones that combine the voices of US and Mexican artists. Years ago when I was living near El Paso, across from Ciudad Juarez, I had the idea of using the word ojalá (the spanish expression for “I wish it were so”) in a book in a chant-like repeated way, describing the indignities of the innocents in the border towns of Northern Mexico. I had problems developing the text for this in a voice that was authentic, so I put the book on the back burner. I asked León de la Rosa if he would agree to collaborate on the book about his experience living in Juarez during the narco-traffic wars, and he agreed. I have been collecting the visual images for this book for 10 years. It is a combination of my photos (80%) and Mexican police photos (20%) that I have been saving. The implementation and treatment of these images in book form are atypical but are from real experienced life, not fiction, and we feel that the book has a striking look and feel to it that extends throughout the book from cover to the all red pages and black edges of the book block itself. Although Leon’s voice is of someone living on the Mexican side, specifically Ciudad Juarez, the most dangerous city in Mexico, the book gives us a glimpse of the rage and frustration of those that live throughout Mexico. We on the Northern side of the border, are part of the problem, creating the huge demand for the drugs and sending back the money that have so corrupted those in power and the guns that have done so much violence and damage. It is really important for us to feel the pain of those who have to live daily in the communities terrorized by the narcos and the various cartels. Leon de la Rosa, my collaborator on the text, teaches at Universidad Autonoma de Juarez. His voice powerfully articulates the message of the book. He is a current Phd. student here at the University of Arizona, on leave from his teaching position at the Universidad Autonoma de Juarez. &lt;a href="http://spaceheat.com/books/ojala"&gt;http://spaceheat.com/books/ojala"&lt;/a&gt;</text>
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                <text>Scope from Artist's Website &lt;a href="http://spaceheat.com/books/ojala"&gt;http://spaceheat.com/books/ojala&lt;/a&gt;</text>
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                <text>Denison's copy is no. 81 of 150 and is signed by Philip Zimmermann.</text>
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                <text>"Philipip Zimmermann: ""Four-color offset lithography printed book was created as a series of two page board book spreads that minimize the visual distraction of a 'gutter' on the panoramic view of each skyscape. The edges of the book are rounded and gilded in the fashion of religious breviaries or missals. ""This is a book of border beatitudes. This work comments on the complicated attitudes of Americans on illegal immigration from Mexico. The cover shows a photograph of the area of Southern Arizona which is the most active in terms of migration across the Sonoran desert, and where thousands have lost their lives in the deadly desert heat. The interior pages show the progression of a typical high desert day from dawn to sunset with a single line of text on each two page spread."" Zimmermann (Blog), March 8, 2010: ""In December of 2002, I was driving back into the United States from Mexico through the Lukeville border road entrance. As I was traveling through the Organ Pipe Cactus National Monument just inside Arizona, I was stopped for a couple of hours by several groups of men each consisting of large number of heavily armed Border Patrol agents on some sort of special operations. They eventually lead out of the desert scrub a large number of illegal immigrants that had been hiding in the mesquite and cactus as they attempted to head north through the park. They clearly weren't drug smugglers. They looked too poor and were unarmed. They made for a rather moving and pathetic sight, and looked disheveled and dejected. I had never seen an operation like this up close and it was rather upsetting, and got me thinking about the life these folks were trying to make for themselves and the efforts that we in the United States make to prevent them from coming here. Sanctus Sonorensis was a work that came out of this experience."" CJ Mace, review, JAB 27: ""With gold-edged pages and title referring directly to a hymn of the Christian liturgy, Philip Zimmermann's book 'Sanctus Sonorensis,' is clear about its associations with the messages within gilded bibles. The main contrast between the structure of these books and Zimmermann's is the weight of the individual pages; while the pages of missals often rattle and are tissue paper-thin, the board-book structure of 'Sanctus Sonorensis' allows for the page and binding to merge into a seamless unit, and the pages turn silently. This silence suggests reverence and the apparent starkness of the Sonoran desert that forms the background photography, a landscape where light becomes sound in a sort of synesthetic radiance. ...""-- &lt;a href="http://www.vampandtramp.com/finepress/s/spaceheater-editions.html"&gt;http://www.vampandtramp.com/finepress/s/spaceheater-editions.html"&lt;/a&gt;</text>
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          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3636">
                <text>scrapbook</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
