art 2002/1
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Rimantas Dūda. Jaano Kaplinskio knygos įrišimas, 2000

Rimantas Dūda. Michelio Foucault "Seksualumo istorijos“ įrišimas Oda, 22 x 15, 2000

Aušra Petroškienė. Knygos įrišimas
Oda, akrilas, aklasis spaudas, 22 x 23, 1990

Aušra Vaitiekūnaitė. Michelio Foucault "Seksualumo istorijos“ įrišimas
Oda, anilinas, varis, žalvaris, aklasis spaudas, 25 x 14,3, 2000

Žimantė Žindulienė. Dienoraščiai "Gyvenimo kontrastai“.
Oda, inkrustacija, 29,6 x 15,5, 1999


Leather Attire of the Book

by Roma Survilienė

A new phenomenon on Lithuanian art scene, the artist’s book or the author’s book, emerged in the 1990s marked by a number of events, beginning with the first show of the artist’s book in 1991, then growing into international triennials and symposiums held in Lithuania, the III of which took place in Vilnius at the end of 2001.
The concept of the artist’s book (versus industrial or amateur binding) implies that it is a unique method of bookbinding and cover design, the two aspects form a uniform style, yet with the emphasis on the structure.
Historically, bookbinding art is as ancient as the book itself. Over the centuries, the technical aspect of bookbinding was improving, and the artistic one grew in sophistication through the use of expensive materials. Since the early Mediaeval times, leather became a popular bookbinding material. With printing of books, bookbinding art and craft split apart; so did artistic and industrial bookbinding. The ‘Arts & Crafts’ movement revived an almost dying out bookbinding tradition; today the leaders in the field are England, France and Germany.
Deplorably, Lithuania (In contrast to Estonia: most of Lithuanians specializing in leather are alumni of Estonian Art Academy) to date has no highest education school to teach the craft. The determination and efforts of the artists to have a specialized course in Vilnius Art Academy so far gave no results. An alternative could be private schools, workshops and courses doing more in this field.
The III bookbinding symposium not only did bring together all artists working in leather, but also aspired to look at the history of bookbinding in the country and its current situation. The results of the workshop demonstrated that Lithuanian artists are stronger in décor techniques, yet there is little variety in binding methods.
Though off the mainstream, contemporary artistic bookbinding is a unique domain of art continuing the ancient craft and aspiring to reflect modern life and texts.

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