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Acquavella Galleries Impressionist, Modern & Contemporary Masters

10/14/2026

This fall, Acquavella will present “Horizon,” its first solo exhibition of work by Harumi Klossowska de Rola in New York.

Featuring more than twenty new works, the exhibition brings together sculptures inspired by the flora and fauna of the Arctic, meticulously crafted in timeless materials including bronze, alabaster, wood, and lapis lazuli.

Rooted in ancient mythology and a rich tapestry of cultural influences, Harumi’s practice is equally informed by her close observation of the natural world. Her work reflects on the profound connection between humanity and nature, inviting us to slow down, observe, and rediscover our place within the natural world.

In her words:

“Nature teaches us the art of slowing down and the grace of letting go. When we connect to its rhythms, we learn to step back and simply become observers—looking at things exactly as they are. In that space, the natural world reveals its greatest secrets: resilience and rebirth… I don’t look at the landscape with a sense of despair; I look at it with deep reverence. Rather than reflecting a modern fracture, my sculptures are an invitation to step back into that ancient relationship, offering a quiet space where humans can pause, slow down, and remember their place within the natural world.”

Harumi Klossowska de Rola: Horizon
November 12 – December 23, 2026
Acquavella Galleries, New York

Film by Benoît Peverelli, filmed at the artist’s home and studio in Rossinière, Switzerland.

Today, October 10th, is the last chance to experience Tom Sachs’s immersive installation “31 Rue Cambon” at his SoHo stu...
10/10/2026

Today, October 10th, is the last chance to experience Tom Sachs’s immersive installation “31 Rue Cambon” at his SoHo studio.

A handmade, lo-fi reimagining of Chanel’s historic Paris flagship boutique, the immersive installation recreates the house’s iconic suits, handbags, and accessories using cardboard, tape, and other everyday materials.

Drawing on Sachs’s longstanding fascination with bricolage and brand deconstruction, the installation interrogates the mythology of luxury through the lens of bootleg culture, exposing the fragile boundary between authenticity, desire, and mass consumption.

“31 Rue Cambon” is open from 1-6pm today at 245 Centre Street, New York City.

“Painting is an urge that swallows you whole. You don’t know exactly where you’re going. You lose yourself completely an...
09/26/2026

“Painting is an urge that swallows you whole. You don’t know exactly where you’re going. You lose yourself completely and you end up doing something you had forgotten, or something you wanted to do without knowing how you got there. A miracle that repeats itself differently each time. It’s a primitive thing, a vital thing.”

- Miquel Barceló

Miquel Barceló’s monumental “Tropic” painting from 2025 is on view in our current contemporary group show in Palm Beach through November 16th.

In this striking underwater scene, depicting an aquarium teeming with tropical fish, the Spanish painter continues his lifelong engagement with organic subject matter and the sea. Although a lifelong diver and lover of the ocean sea, the prescribed environment of the aquarium offers the artist a unique opportunity for experimentation. In works like Tropic (2025), Barceló creates a powerful composition bursting with tropical aquatic life rendered in swirling pools of brilliant color. As the artist observes, an aquarium is a “closed space where colors, shapes, and materials evolve in improbable combinations. For me, that’s a good definition of painting.”

MIQUEL BARCELÓ
Tropic, 2025
Mixed media on canvas
74 3/4 x 94 1/2 inches

“Wayne Thiebaud: The Order of Things” has now opened at Dongdaemun Design Plaza as part of Hyundai Card’s Culture Projec...
09/25/2026

“Wayne Thiebaud: The Order of Things” has now opened at Dongdaemun Design Plaza as part of Hyundai Card’s Culture Project in Seoul. With 105 works spanning seven decades of the artist’s career on view, the show is the first retrospective of the American master’s work in Korea and the largest exhibition of his work to date in Asia.

Curated by Dieter Buchhart and Anna Karina Hofbauer, the retrospective reframes the American painter’s beloved desserts, figures and landscapes as studies in abstraction, structure, and desire.

The exhibition title is borrowed from philosopher Michel Foucault’s “The Order of Things,” a book concerned with the invisible grid that determines how a culture sees and categorizes its world. Buchhart explains:

“Korea has long understood something that Thiebaud understood too, that the objects of everyday life — the things we eat, the spaces we inhabit, the rituals we repeat — carry within them the deepest codes of a culture… The tteok [traditional Korean rice cakes] arranged on a ceremonial table, the porcelain bowl placed just so, these are not decorations but orders.” He continued: “We invite you to look closely at the works. The frosting on the cakes is also paint, the pie is also a triangle, and the order of things is never quite what it seems.”

“Wayne Thiebaud: The Order of Things”
Hyundai Card Culture Project 31
On view at Dongdaemun Design Plaza, Seoul
Through February 21, 2027

Our contemporary group show opens today in Palm Beach! 🌴 Featuring work by Miquel Barceló, Vija Celmins, Jacob El Hanani...
09/24/2026

Our contemporary group show opens today in Palm Beach! 🌴

Featuring work by Miquel Barceló, Vija Celmins, Jacob El Hanani, Jon Joanis, Joel Mesler, Jennifer Rochlin, Tom Sachs, and Nicole Wittenberg, the exhibition runs through November 15th.

The gallery is open seven days a week in the Royal Poinciana Plaza.

JON JOANIS
Parking Lot (1), 2025
Acrylic and wax pigments on linen
48 x 42 inches (121.9 x 106.7 cm)

This week, Tom Sachs will unveil a new body of work, “31 Rue Cambon,” at his studio downtown in New York City. Drawing o...
09/08/2026

This week, Tom Sachs will unveil a new body of work, “31 Rue Cambon,” at his studio downtown in New York City.

Drawing on his longstanding fascination with craftsmanship and brand deconstruction, the installation is named after the historic flagship boutique and heart of the Chanel empire in Paris, France.

“31 Rue Cambon” constructs an alternate universe around Chanel in which the visual codes of haute couture are meticulously reproduced while simultaneously being called into question.

In her feature on the work in the The New Yorker, Rachel Syme writes:

For the immersive installation that opens to the public on September 11th, during New York Fashion Week, Sachs converted part of his studio into an uncanny simulacrum of the luxury fashion house Chanel’s flagship boutique, in Paris. Viewers will enter directly from the street, where Sachs and his team of around twenty people were in the process of re-creating the iconic Chanel storefront, with cream-colored awnings made of cardboard and wrought-iron gates emblazoned with the brand’s interlocking “C”s. Inside, viewers will find a mirrored entrance hall and a showroom stocked with handbags, shoes, sparkly baubles, and Chanel’s signature two-piece suits—all painstakingly handcrafted out of everyday materials such as cardboard, paper, plywood, and broken glass. Sachs, who has the garrulous, jittery mien of a hyperactive teen-ager, explained that he intended to conceal the exterior till the last possible minute. “We’re keeping butcher paper up on the windows until we open,” he said. “I think shock and awe is best.”

For the full article, see the link in our bio.

Tom Sachs “31 Rue Cambon”
Tom Sachs Studio, 245 Centre Street, New York City
Friday, September 11th through Saturday, October 10th, 2026

Thursdays and Fridays: 6-8pm
Saturdays: 1-6pm
Sundays to Wednesdays: Closed

Admission is free to the public but space is extremely limited.

“Why must art be static? You look at an abstraction, sculptured or painted, an entirely exciting arrangement of plans, s...
07/22/2026

“Why must art be static? You look at an abstraction, sculptured or painted, an entirely exciting arrangement of plans, spheres, nuclei, entirely without meaning. It would be perfect, but it’s always still. The next step in sculpture is motion.” – Alexander Calder

Happy Birthday to American sculptor and painter Alexander Calder (1898-1976)!

Calder forever transformed the language of sculpture. His suspended sheet metal and wire constructions, activated by the currents of the air, introduced movement into what had long been a static medium. He pioneered these structures as “drawings in space,” blurring the boundaries between line, form, and sculpture.

Calder was born into a family of artists, with both his father and grandfather being established sculptors and his mother a portrait painter; he was encouraged to create from a young age. Although he initially studied mechanical engineering, his technical background would later become integral to his artistic practice, informing the delicate systems of balance and motion that defined his oeuvre.

His path towards abstraction began with his wire sculptures of the 1920s, but it was a visit to Piet Mondrian’s studio in October 1930 that deeply influenced his trajectory. Calder was struck by Mondrian’s use of space and color, pushing his own oeuvre to shift toward abstraction and eventually his mobiles. It was Marcel Duchamp who, in 1931, coined the term “mobile” for these new works, a French word that carries the double meaning of “motion” and “motive.”

In addition to his mobiles, Calder was an avid draftsman, with his works on paper standing as vital, independent achievements. Across mediums, Calder produced a prolific body of work characterized by bold, biomorphic shapes, primary colors, and an organic sense of balance and motion.

Photo of Alexander Calder in his Roxbury studio, 1941.

Art © 2026 Calder Foundation, New York / Artists Rights Society (ARS), New York

“People call me the painter of dancing girls. It has never occurred to them that my chief interest in dancers lies in re...
07/20/2026

“People call me the painter of dancing girls. It has never occurred to them that my chief interest in dancers lies in rendering movement and painting pretty clothes.” – Edgar Degas

Yesterday was Edgar Degas’ birthday (1834-1917), one of the great innovators of Impressionism and a master of capturing modern life.

Born in Paris in 1834, Degas trained at the École des Beaux-Arts before traveling through Italy to study the Renaissance masters. Following his return to Paris, he became friends with Édouard Manet, who encouraged him to shift his attention from historical subjects to the people and themes of daily life. Though hailed as an Impressionist master and a participant in nearly all of their exhibitions, Degas forged a distinct path, favoring unique compositions over painting ‘en plein air.’

Degas was best known for his many iterations of the ballet dancer; through sculpture, paintings, and works on paper, he devoted his oeuvre to studying the human form in motion. Along with dancers, Degas notably portrayed racehorses, theater performers, women bathing, and the everyday rituals of Parisian life with remarkable insight and formal skill.

As his eyesight deteriorated later in life, Degas embraced pastel with renewed intensity, creating bold and abstract compositions that were uniquely alive with vibrant color and expressive markings. Today, he is recognized as the master of dance and one of the most inventive and influential figures in the history of modern art.

Slide 1: “Dancers at the Barre,” 1877-79 by Edgar Degas

Slide 2: “Little Dancer, Aged Fourteen,” 1880 by Edgar Degas

“There’s magic in the ordinary. We just need to look closely enough.” – Wayne Thiebaud Throughout his career, Wayne Thie...
07/16/2026

“There’s magic in the ordinary. We just need to look closely enough.” – Wayne Thiebaud

Throughout his career, Wayne Thiebaud explored the nostalgic themes of the American summer experience in beach scenes and vibrant images of hot dogs, sodas, and ice creams.

This painting, “Beach Ball” (2004), exemplifies how Thiebaud used simple, everyday subjects to explore vibrant shadows and complex color palettes. With his arcs of vibrant, painterly color, here the everyday beach ball is transformed into a visual color wheel.

WAYNE THIEBAUD
Beach Ball, 2004/2007
Oil on canvas
24 x 36 1/8 inches

In the 2000s, Thiebaud painted a playful series of California beach scenes inspired by the artist’s time in Laguna Beach...
07/15/2026

In the 2000s, Thiebaud painted a playful series of California beach scenes inspired by the artist’s time in Laguna Beach, where he had purchased a condominium overlooking the beach in 2002. The lively paintings feature energetic dogs frolicking and basking in the backlit California sunlight.

As he later explained, the sun-drenched, spirited compositions evolved from Thiebaud’s observance of early-morning, off-leash dog hours on the beach in Laguna:

“On the main beach in Laguna they have a timed thing where you can do anything with a dog. You bring them all down there until eight o’clock in the morning. So early in the morning, there’s all of this wonderful backlighting of the dogs. They all bring their dogs and sometimes release them, so that they interact together. It’s quite a marvelous community of dog life with the human beings sort of on the side.”

“Beach Dogs,” 2004-2013
Oil on canvas, 60 x 48 inches
Fine Arts Museum of San Francisco; Gift of the Wayne Thiebaud Foundation in memory of Charles Campbell and Glenna Putt

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10075

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