Abstract Violeta Bubelytė (b.1956) has been making nude self-portraits in Lithuania continuously for three decades, commencing in 1981. Despite her efforts to avoid verbalizing the visual works that she creates, her images appear to display an analytical approach to art history. One can also relate them to social changes in gender representation and values which the artist has witnessed and, in a way, predicted. Bubelytė’s self-images make an immediate impact – by evoking mechanisms of visual memory invaded by oddness, which comes from the gaze that she returns to the viewer. Her pictures contain elements of spiritual quest and of understanding her identity – which have been widely noticed by critics. I see her also as a rebel and as someone who deconstructs visual culture by, in a literal sense, facing the patriarchal gaze – and I argue that, by doing this, she also changes the very dynamics of looking. The artist came ‘out of nowhere’ – she did not fit into the official tradition of Lithuanian photography nor into the new wave of photography which denied that tradition. Full recognition of her input to the field of photography has come slowly and with difficulty.

中文翻译：

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回头看的裸体：Violeta Bubelytė 的自画像

摘要 Violeta Bubelytė (b.1956) 从 1981 年开始，连续三年在立陶宛制作裸体自画像。尽管她努力避免用语言表达她创作的视觉作品，但她的图像似乎展示了对艺术史的分析方法. 人们还可以将它们与艺术家目睹并在某种程度上预测的性别代表和价值观的社会变化联系起来。Bubelytė 的自我形象产生了直接的影响——通过唤起被古怪侵入的视觉记忆机制，这来自她返回给观众的凝视。她的照片包含精神追求和理解她的身份的元素——这已被评论家广泛注意到。我也认为她是一个反叛者，是一个通过面对父权制凝视来解构视觉文化的人——我认为，通过这样做，她也改变了看的动力。这位艺术家“凭空而来”——她既不符合立陶宛摄影的官方传统，也不符合否认这一传统的新摄影浪潮。对她在摄影领域的投入的全面认可是缓慢而艰难的。