art 2003/1

Indraja Raudonikytė-Petkuvienė.
Džiaze tik merginos.
2002, linoraižinys, 81 x 52

Asta Rakauskaitė. Be pavadinimo.
2000, medžio raižinys, 63 x 91

Kristina Norvilaitė. Amžina begalybė.
2002–2003, linoraižinys, mišri technika, 40 x 80

Roberta Vaigeltaitė.
Iš užrašų knygutės VI.
2001–2003, 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

Ramunė Staškevičiūtė.
Žemuogių vonia.

2000–2001, 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 7

Graphic Arts 2003: The Signs of Time

by Rita Mikučionytė

The “Graphic 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 confusing indeed.
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 1970s–80s 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 Artist’s 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.