Episode 8: Tom Sachs, Naomi Fry
The eighth episode of "The Picture" podcast features a conversation between artist Tom Sachs and "New Yorker" staff writer Naomi Fry, recorded on a rainy Friday evening over mezcal at Sachs' studio in New York. The two friends spoke on the occasion of the new exhibition "Tom Sachs: Handmade Paintings" at Acquavella Galleries in New York.
Although painting has long been a focus of his practice, this exhibition of conspicuously handmade work is the first to focus exclusively on Sachs' paintings. With an introduction from gallery director Philippe de Montebello, Tom and Naomi's conversation touches on Sachs’ love for the Simpsons, his early years re-creating Mondrian paintings with duct tape, and why, according to Sachs, "Creativity is the enemy."
"Tom Sachs: Handmade Paintings" is on view November 5–December 18, 2020, at Acquavella Galleries.
Episode 7: Joan Punyet Miró, Philippe de Montebello
In the seventh episode of "The Picture" podcast, gallery director Philippe de Montebello is joined by Joan Punyet Miró, grandson of Spanish master Joan Miró, whose solo exhibition "Miró the Sculptor: Elements of Nature" is currently on view at Acquavella Galleries in New York.
Late in a storied career characterized by a lifelong love of experimentation, Joan Miró dedicated himself to sculpture and, in particular, the creation of hundreds of bronzes, 23 of which are on view at Acquavella. From 1966 until his death in 1983, Miró was unflagging in his aim to explore and redefine the medium of sculpture, telling his friend Alexander Calder at the age of 81: “I am an established painter but a young sculptor.”
Joan Miró and Joan Gardy Artigas in Gallifa, Barcelona, c. 1960; photograph by Francesc Català-Roca © Photographic Archive F. Català-Roca - Arxiu Històric del Col·legi d’Arquitectes de Catalunya
In this week's episode of the David Novak Leadership Podcast, Bill Acquavella tells us the story of his family's gallery.
Bill Acquavella is President of Acquavella Galleries, a family-owned gallery founded by his father, Nicholas Acquavella, in the early 1920’s. When Bill joined his father in 1960 selling works from the Italian Renaissance, he expanded the focus of the gallery to include major works of the 19th and 20th centuries, offering paintings by the masters of Impressionism, Post-Impressionism, Cubism, and Surrealism. Today, the entire scope of 20th century art is represented, including Abstract Expressionism and Pop Art. For over ninety years, Acquavella Galleries has sold major paintings and sculpture to private collectors and museums worldwide in addition to presenting museum-quality exhibitions. Over the course of the 1970s and '80s, Acquavella turned the gallery into a leader in the 19th and 20th century art markets, attracting billionaire clients like Paul Mellon, Walter Annenberg, and Henry Ford.
A member of the Art Dealers Association of America, Bill served as president of the ADAA from 1984-86. He is also a past member of the Art Advisory panel for the Internal Revenue Service, a former Director of Bessemer Trust Company as well as a former Director of Gulfstream Aerospace Corporation. Presently he serves on the Advisory Board for The Department of Ophthalmology at Columbia University. He graduated with a B.A. from Washington and Lee University in 1959. Since his father passed away in 1987, Bill has been joined by his three children, who work as directors at Acquavella Galleries.
Episode 6: Wayne Thiebaud, Michael Thomas, Philippe de Montebello
In the sixth episode of "The Picture" podcast, American painter Wayne Thiebaud speaks with writer and critic Michael Thomas and gallery director Philippe de Montebello on the occasion of the new exhibition "Wayne Thiebaud: Mountains 1965-2019," the artist's third solo exhibition at Acquavella Galleries.
Recorded in front of a live audience at Acquavella Galleries in New York, their conversation touches on Thiebaud's lifelong passion for teaching, his favorite dessert (lemon meringue pie), and the similarities in painting mountainous snowdrifts and mounds of whipped cream.
Episode 5: Michael Auping, David Dawson & Philippe de Montebello
The fifth episode of "The Picture" podcast centers on painter Lucian Freud and his large-scale naked portraits as seen in "Monumental," a major loan exhibition currently on view at Acquavella Galleries in New York. Gallery director Philippe de Montebello speaks with Freud's longtime assistant and friend David Dawson as well as curator Michael Auping in a conversation about Freud's process, his relationship with his models, and the difference between naked and nude in Freud's pursuit of what he called "a more complete portrait."
Episode 4: Wayne Thiebaud
For the fourth episode of "The Picture" podcast, gallery director Philippe de Montebello speaks with painter Wayne Thiebaud about color, cake and the 98-year-old artist's love for the act of painting.
Episode 3: The Art Market, with Judd Tully
In the third episode of “The Picture” podcast, gallery director Michael Findlay joins art critic and journalist Judd Tully for a conversation about the art market. The two friends discuss international auction houses, the changing gallery model, and the growing influence—and pressures—of art fairs.
Episode 2: James Rosenquist
For the second episode of “The Picture” podcast, gallery director Michael Findlay leads a conversation about the legendary artist James Rosenquist, whose solo exhibition “His American Life” is currently on view at Acquavella Galleries in New York. Judith Goldman, who curated the exhibition, and Sarah Bancroft, executive director of the James Rosenquist Foundation, help pick apart Rosenquist’s growing legacy beyond Pop Art and the artist’s love for the act of creating.
Episode 1: Bill Acquavella and David Dawson on Lucian Freud
For the premiere of “The Picture” podcast, Bill Acquavella is joined by artist and author David Dawson in a discussion of their dear friend, the remarkably talented painter Lucian Freud. In his introduction, Philippe de Montebello also recounts a momentous meeting with Brooke Astor, who, as a trustee of the Metropolitan Museum of Art, was transfixed by Freud’s portrayal of what she called “a repulsive mound of flesh.”