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Experimenting with
art supports

Artist's books

Uma escolha entre infinitas possibilidades [One choice among infinite possibilities]
Discussions on the choice process in artistic creation | 1980 | Number printed: 17*.

Treze escolhas arbitrárias [Thirteen arbitrary choices]
Discussions on the choice process in artistic creation | 1981 | Number printed: 17 *.

Trapézios [Trapezes]
Three-dimensional exercise using the trapeze shape | 1982 | Number printed: 17*.

ABC dos triângulos [Triangles ABC]
Discussions on geometric abstraction and choice | 1984 | Number printed: 5.

Acervos: museus privados e públicos.

* Silkscreen: Série

"(...) The year 1974 seems to have been definitive in the consolidation of the artist’s book as an individual expression, with the following publications, among others: Poemobiles e Reduchamp, by Julio Plaza and Augusto de Campos, Situação Executiva e Interferências, by Regina Silveira, the third On-Off, the second edition of La Phenomena, compiled by Artur Matuck and Gabriel Bonduki, Ninguém te Ouvirá no País do indivíduo, by Mário Ishikawa, Outra Pedra de Rosetta, by Daniel Santiago and Paulo Brusky, who launched, concurrently, the book-object Como Ler, constructed and printed on bread dough', according to the words of the invitation, Testarte, by Vera Barcellos and Nearer, by Anna Bella Geiger.
Between that year and the early 80’s,the publication of artists’ books grow in a variety of materials, techniques and shapes, exploring the new facilities provided by the photocopier and the computer, addressing all sorts of themes -- discussions about the nature of art, problems with critique, documentation of performances, play on words, political reflections, intersemiotic research, etc.
Some of the most stimulating results are achieved exactly through reflections about artistic issues, such as Sobre a Arte (1976), by Anna Bella Geiger, Matéria de Uso (1978), by Essila Paraíso, the drawing books by Maria Luiza Saddi and Rute Gusmão and The Art of Drawing (1981), by Regina Silveira.
Along with these publications, which focus on the reproduction systems of artistic language, one must remember the investigations centered on the construction processes unique to each artist (...)".

Extract from a text by Annateresa Fabris
and Teixeira da Costa, Cacilda
Tendências do livro de artista no Brasil [Trends of Artists’ Books in Brazil],
Centro Cultural São Paulo, June 1985.

"(...) The last notebook does not present texts or sketches but only the shape of the trapeze that moves on the white colour of the paper, threatening to escape out of the edges of the paper and reaching overleaf. In other words, it is the spectator’s eye that recreates, each moment, the trapeze that threatens to escape."

Extract from the article by Frederico Morais
Ironia e construção nos trapézios de Rute Gusmão [Irony and Construction in Rute Gusmão’s Trapezes].
O Globo, 3/5/1982.