BÄla KolĂĄĹovĂĄ. Radiogram of Circle. 1962.
One of my favorite Czech artists, Bela Kolarova.

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BÄla KolĂĄĹovĂĄ. Radiogram of Circle. 1962.
One of my favorite Czech artists, Bela Kolarova.

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LĂĄszlĂł Moholy-Nagy. Fotogram. 1929.
Hand in hand with LĂĄszlĂł Moholy-Nagy, photogram from 1929. Plenty photograms to see at Guggenheim #NewYorkCity.
Anna ZemĂĄnkovĂĄ. Untitled, Flower Blooms and Other Worlds. 1970s.Â
Beautiful, naive, tactile Anna Zemankovaâs sensual flower.
The Lewis Carroll Society selects Dusan Kallayâs illustrations for Alice in Wonderland the most beautiful in the world.
In addition to printmaking and painting, artist Dusan Kallay creates fabulous  illustrations for children books. In 1988, he received the Hans Christian Andersen award for his lifelong achievements. Last year, The Lewis Carroll Society of North America presented the 2010 Slovak translation of Alice's Adventures in Wonderland, translated by Juraj Vojtek and Viera Vojtova and illustrated by Dusan Kallay, with the Grand Prize for excellence in all aspects of this work. In 2015, The Lewis Carroll Society celebrated the 150th anniversary of Alice with the production and publication of a three-volume study of Alice in nearly 200 languages, a major exhibition at the distinguished Grolier Club in New York City, and a two-day conference, and the exhibition was the occasion for the awarding of this prize. The winner was selected by Jon Lindseth, co-curator of the exhibition and general editor of the book.Â
We are proud to represent Dusan Kallayâs prints in the USA.Â
We always enjoy the works by Kamila Stanclova, a Slovak artist who has gained recognition for her exquisite prints and book illustrations. She is a dreamer. In this iconic work entitled The Old Moving House (1982), Stanclova shows off her skill to manipulate the real and the fantastic based in dreams, the present and the past, the significant and the marginal, and the real and the poetic.
KADS New York will feature several color etchings by Kamila Stanclova at The 2016 New York Satellite Print Fair (November 4-6, 2016), including The Old Moving House. Mark your calendar, plan your trip to New York!
âStanclovaâs prints exemplify many of the characteristics that we have come to think of as defining the Central European graphic tradition: the mastery of the plate, the connection to book illustration, the critical stance of the artist towards social or political realities mediated through sly humor, fantasy and sheer visual dazzle.â Â Â Â Â Â Â Â Â Â Â Â Â Â â Eva Nikolova, Celebrating Print 2014 exhibition catalog
Featured image:Â Kamila Stanclova, The Old Moving House, 1982, color etching, 23 5/8 x 19 5/8 inches image size, edition of 60, photograph by the artist. Courtesy of KADS NY.Â
View other works by Kamila Stanclova available at KADS New York.Â

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Croatian artist Mia Stark practices a cross-disciplinary approach to printmaking in order to express her firm belief in the movement of our body as an identifier of our personality and even our identity. In lithography, the most direct printmaking technique that allows for easy, free mark-making with no resistance of the material matrix, Mia explores and pushes the boundaries between dance and visual arts.
Cynicism is the sewage of the soul.
I stopped by NPRâs On Point to talk about how we can live a more thoughtful 2016. Listen here. (via explore-blog)
The Morgan Library & Museumâs current exhibition Graphic Passion: Matisse and the Book Arts of Henri Matisseâs illustrated books, donated to the museum by collectors Michael and Frances Baylson, demonstrates the artistâs well-deserved reputation of having produced some of the most prominent livres dâartistes while also exploring his missteps and failures in book production, emphasizing his devotion to process and revision.
Mastery and Missteps in Matisseâs Books
On this weekâs art crime blotter: vandals attack Jackie Chanâs sculptures in Taiwan, Abe Lincolnâs hand goes missing from Illinois museum, and an advertising student claims an agency ripped off his poster design.
Crimes of the Art

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The weekend is here, let the reading marathons begin!
Art by Grace Easton
In a Space Where Each Dot Matters
By Alena Laufrova: I visited Vojtech Kovarik in his studio in Kolin, a town in the Czech Republic that lies 34 miles east of Prague. Surrounded by a complex of industrial buildings once occupied by TESLA, the former Czechoslovak electro-technical manufacturer, we looked through his prints and discussed his methods for making them, as well as the circumstances and surroundings of their creation. Kovarik employs a systematic approach to printmaking, basing the printed images off of photographs. For me, the ways that Kovarikâs prints visually portray realistic scenes are indicative of his thematic influences and means of personal expression. Â When I interviewed Kovarik, I was curious to find out why he chooses to work with large-format prints and what he finds satisfying in the complex printmaking process. Â
Alena Laufrova (AL): How did you arrive to working with large-format, raster-based linocuts? Vojtech Kovarik (VK): In the very beginning, there were two series that I worked on simultaneously but they had nothing to do with each other. One involved large-format linear linocuts, while the other series consisted of color screen prints. I used screen printing for reproduction. I was basically reproducing my photographs as industrial four-color prints (CMYK). However, throughout the process, I always managed to make some mistakes, like placing the raster of each color in the wrong direction, or using a different sized raster for an image. I also ran into the issue of shifted colors, among other mishaps. Later on, I didnât have any access to a place where I could do screen printing. Itâs a relatively expensive technique, especially if I were to do it all by myself. Then, the idea of creating a raster by carving it out in linocut came to mind [laughs].
>> In a Space Where Each Dot Matters: Vojtech Kovarik on Reality and the Raster
Celebrating Print 2015 Artist: Tobias Crone
Image top: Tobias Crone, Internal Process Failure, 2015, etching, aquatint and gouache on cotton paper, 31.5 x 22 inches image size (80 x 56 cm), edition: 7, printed by the artist, photograph courtesy of the artist (image above - detail of the same print)
âThe print entitled Internal Process Failure is part of User Manual for Waiting Lines, a series in which business partners get intimate while dealing with the authorities. In that bureaucratic world, the demand for love exceeds the capacity of the system. Standing in line is the daily routine in life. Respecting the queue allows the available love partners to be processed without severe disturbances and intimate services can be provided to each applicant. Meanwhile, the business partners transit through desolate swimming pools and tiled bathrooms where they experience timid meetings in shower cabins as well as lonely rides through water slidesâ.
After growing up in the swamps of the Northern German province, Tobias Crone studied at the Art Academy of Groningen in the Netherlands. Having suffered an intense romantic affair with animation movies, he finally found his true love in intaglio printmaking for which he received a Bachelor's degree of Fine Arts in 2009. He participated in various international exhibitions such as the Guanlan Print Biennial in China, the âCarmen Arozenaâ Print Award in Spain and the International Print Center New York.Â
Ernst Ludwig Kirchner. Artisin Marcella. 1910.
Arnold Nechansky, postcard âFrohe Weihnachtâ for Wiener Werkstätte, 1912. Austria. Source

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Egon Schiele, Composition with Three Male Nudes, 1910. @ Leopold Museum, Vienna.
Socialism and cha-cha-cha: Agnès Vardaâs photos of Cuba forgotten for 50 years