Džiaze tik merginos.
2002, linoraižinys, 81 x 52
Asta Rakauskaitė. Be pavadinimo.
2000, medžio raižinys, 63 x 91
Kristina Norvilaitė. Amžina begalybė.
20022003, linoraižinys, mišri technika, 40 x 80
Iš užrašų knygutės VI.
20012003, spalvotas medžio raižinys, 75 x 50
Nijolė Šaltenytė. Auskaras.
2003, ofortas, akvatinta, koliažas,
65 x 86
Eglė Kuckaitė. Torija Kijonaga. Linksmųjų kvartalų
šiuolaikinės gražuolės, arba noriu saunos II.
2002, ofortas, akvarelė, 22 x 23
Vladas Liberis. Du.
2002, ofortas, 22 x 28
20002001, sausa adata, 42 x 29,5
Adasa Skliutauskaitė. Erdvė I.
2003, spalvota litografija, 49 x 62
Adriana Lucaciu. 23 nuodėmės.
2002, rankų darbo popierius, atspaudas, koliažas, 22 x 15
Diana Radavičiūtė. 23 nuodėmės.
2002, medis, fotografijos, plastikas, akmuo, 22 x 17,5 x 5
Pilar Roca. Lemties pasirinkimas.
1999, atspaudai ant rankų darbo lininio Kozo popieriaus, 23 x 22 x
Arts 2003: The Signs of Time
by Rita Mikučionytė
Arts 2003, produced by the Lithuanian Artists Union and
hosted by the Contemporary Art Center, was an overview of developments
in Lithuanian graphic arts over past three years. The stylistic complexity
and even some incoherence (project director Ramunė Vėliuvienė)
was the result of individuals in charge of different segments of the
show following different routes in selecting works to be displayed.
Collection of prints featured almost 70 individual artists representing
different generations. The display ranging from miniature linocuts illustrating
after war period stylistics to huge painterly serigraphic prints looked
In general, in recent years Lithuanian graphic arts seem to have taken
a route of conceptualization. On the one hand, large scale and vibrant
colours bring graphic works closer to painting on the other hand,
graphic works tend to take a shape of monumental spatial compositions.
Female graphic artists deserve a special mention, as they have been
extremely prolific. Two main trends can be differentiated in female
graphic art. The generation of the 1970s80s exploit the Modernist
tradition based on metaphoric imagery. The younger artists of the 1990s
pursue the Postmodern route. Some other male artists opt to use Pop
Art stylistics. Alongside with works in traditional techniques of etching,
aquatint, drypoint, woodcuts and linocuts, increasing numerous works
are produced in mixed media or digital technologies, which largely contribute
to the expansion of the image modeling capabilities.
The display of handmade paper and book illustrations was considerably
less sizeable. Promoted by several individuals, the tradition of handmade
paper in the country is still in its infancy. Yet artists working with
handmade paper have already demonstrated what effects diverse inherent
qualities (plasticity, fragility, transparency, etc.) of handmade paper
may yield. Some shapes on display struck like kinetic objects, while
spatial objects supplied with additional elements were virtual installations.
The display of book illustrations was more than humble, merely a shadow
of the former wealth. It is probably one type of graphic arts worst
affected by popular taste and book market.
Integrated into the Graphic Art 2003, was also the 3rd International
Artists Book Triennial 23 Sins curated by Kęstutis
Vasiliūnas. Showcased were 118 artists from 44 countries presenting
an amazing variety of original books ranging from a classical specimen
with text and illustrations to a conceptual object retaining but the
very idea of a book. Carefully selected exhibits, original and emblematic
of the tradition in corresponding countries (not excluding Lithuania),
intrigued the viewer. Some famous names in the field indicated the growing
prestige of the event.