Judith E. Stein. (2016). Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art. Farrar, Straus and Giroux.

Judith E. Stein. 2016. Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art. Farrar, Straus and Giroux.

Judith E. Stein, Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art. Farrar, Straus and Giroux, 2016.

Judith E. Stein. Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art. Farrar, Straus and Giroux, 2016.

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   • bioText: Judith E. Stein is a Philadelphia-based writer and curator who specializes in postwar American art. A former arts reviewer for NPR's "Fresh Air" and "Morning Edition," her writing has appeared in Art in America, The New York Times Book Review, and numerous museum publications. She is the recipient of a Pew Foundation Fellowship in the Arts in literary non-fiction and a Warhol Foundation/Creative Capital Arts Writers Grant. A graduate of Barnard College, she holds a doctorate in art history from the University of Pennsylvania.
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In 1959, Richard Bellamy was a witty, poetry-loving beatnik on the fringe of the New York art world who was drawn to artists impatient for change. By 1965, he was representing Mark di Suvero, was the first to show Andy Warhol's pop art, and pioneered the practice of "off-site" exhibitions and introduced the new genre of installation art. As a dealer, he helped discover and champion many of the innovative successors to the abstract expressionists, including Claes Oldenburg, James Rosenquist, Donald Judd, Dan Flavin, Walter De Maria, and many others.
The founder and director of the fabled Green Gallery on Fifty-Seventh Street, Bellamy thrived on the energy of the sixties. With the covert support of America's first celebrity art collectors, Robert and Ethel Scull, Bellamy gained his footing just as pop art, minimalism, and conceptual art were taking hold and the art world was becoming a playground for millionaires. Yet as an eccentric impresario dogged by alcohol and...

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Eye of the Sixties

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In 1959, Richard Bellamy was a witty, poetry-loving beatnik on the fringe of the New York art world who was drawn to artists impatient for change. By 1965, he was representing Mark di Suvero, was the first to show Andy Warhol's pop art, and pioneered the practice of "off-site" exhibitions and introduced the new genre of installation art. As a dealer, he helped discover and champion many of the innovative successors to the abstract expressionists, including Claes Oldenburg, James Rosenquist, Donald Judd, Dan Flavin, Walter De Maria, and many others.
The founder and director of the fabled Green Gallery on Fifty-Seventh Street, Bellamy thrived on the energy of the sixties. With the covert support of America's first celebrity art collectors, Robert and Ethel Scull, Bellamy gained his footing just as pop art, minimalism, and conceptual art were taking hold and the art world was becoming a playground for millionaires. Yet as an eccentric impresario dogged by alcohol and uninterested in profits or posterity, Bellamy rarely did more than show the work he loved. As fellow dealers such as Leo Castelli and Sidney Janis capitalized on the stars he helped find, Bellamy slowly slid into obscurity, becoming the quiet man in oversize glasses in the corner of the room, a knowing and mischievous smile on his face.
Born to an American father and a Chinese mother in a Cincinnati suburb, Bellamy moved to New York in his twenties and made a life for himself between the Beat orbits of Provincetown and white-glove events like the Guggenheim's opening gala. No matter the scene, he was always considered "one of us," partying with Norman Mailer, befriending Diane Arbus and Yoko Ono, and hosting or performing in historic Happenings. From his early days at the Hansa Gallery to his time at the Green to his later life as a private dealer, Bellamy had his finger on the pulse of the culture.
Based on decades of research and on hundreds of interviews with Bellamy's artists, friends, colleagues, and lovers, Judith E. Stein's Eye of the Sixties rescues the legacy of the elusive art dealer and tells the story of a counterculture that became the mainstream. A tale of money, taste, loyalty, and luck, Richard Bellamy's life is a remarkable window into the art of the twentieth century and the making of a generation's aesthetic.
—
"Bellamy had an understanding of art and a very fine sense of discovery. There was nobody like him, I think. I certainly consider myself his pupil." —Leo Castelli

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reviews

1. • premium: False
   • source: Barbara Rose, The New York Times
   • content:

     "Ms. Stein's evocative portrait of Bellamy recreates in stunning, touching and often humorous detail the chaotic, creative, still bohemian art scenes of Provincetown, Mass., in the '50s, and New York in the '60s . . . With Ms. Stein's biography . . . the secretive spirit of the '60s becomes at last a concrete and real person with a permanent place in art history. The character that emerges is of an impossible, improbable, irresponsible, irresistibly innocent sophisticate who many found to be the hero of the masterpiece that was his life."

2. • premium: False
   • source: Ann Landi The Wall Street Journal
   • content: "By using [Bellamy's] unlikely ascent as a prism, Ms. Stein brings to vibrant life a corner of the culture that was as outrageous as it was visually revolutionary."
3. • premium: False
   • source: Mostafa Heddaya, The Art Newspaper
   • content: "An exemplary work of journalism and research . . . Stein's attentive approach successfully bridges art's journalistic and scholarly cultures, itself an important accomplishment when much art publishing cleaves to one or the other tribe . . . By sheer force of research and reporting, the book is sure to be a resource for future art-historical work on the decade."
4. • premium: True
   • source:
   • content:

     April 18, 2016
     Over 20 years in the making, art critic Stein’s full-length debut is an intricate biography of New York art dealer Richard Bellamy (1927–1998), written with a striking level of detail. The wiry, bespectacled Bellamy, called “the eye of the 60s” by critic Irving Sandler, possessed a remarkable ability to pounce on talented artists, among them James Rosenquist and Claes Oldenburg, before they made it big. He worked as the director of the edgy Green Gallery, which was financed by the art collector Bob Scull, though perhaps “worked” is not quite the right word: in Stein’s account, Bellamy’s tenure at the gallery was merely an extension of his everyday lifestyle floating among the scattered, brilliant, interconnected artists of New York in the 1960s. He lacked business sense, often skimming over financial concerns (he would even urge successful artists to take their work elsewhere for the sake of their careers); he conducted unorthodox scouting trips to studios where he would sometimes lie down in a drunken stupor and take a nap to better absorb the artwork. Bellamy nonetheless turned the Green Gallery into a central player in the development of pop art, lyrical abstraction, and minimalism. Stein outlines Bellamy’s life and career, and then fills that outline in—painstakingly and with plenty of color—using direct quotes and anecdotes woven seamlessly into her narrative. This engrossing story immerses the reader in Bellamy’s whole world—the “creative chaos” of the early 1960s New York contemporary art scene. B&w illus.

5. • premium: True
   • source:
   • content:

     May 15, 2016
     An in-depth biography of influential art gallery dealer Richard Bellamy (1927-1998). Journalist, curator, and former NPR arts reviewer Stein has been working on this book since the mid-1990s. Her extensive research and numerous interviews provide a scintillating, detailed portrait of one of the "most influential and enigmatic American art dealers of the sixties." The author calls her subject "legendary" and says "the remarkable talent he unearthed was jaw-dropping." The Cincinnati native inherited his Chinese mother's "epicanthic eyelids," which gave him a tired look. An odd, aloof, enigmatic man who made little money, he was frequently homeless or lived in his galleries, where he would "artfully dodge posterity." After one semester at the University of Ohio in 1948, he went to Provincetown, Massachusetts, where he lived a bohemian life surrounded by artists. Bellamy now knew what he wanted to do: live fully in the art world, show art, and talk about it. The small Hansa Gallery in New York City hired him as their director; it gave him the opportunity to provide little-known artists with a place to show their works, maybe even sell some--not one of Bellamy's best skills. He was pure in the belief that it was the art for the art's sake, not the money, which often disappointed his clients. With the financial help of collector Bob Scull, he opened his Green Gallery in 1960. It quickly became an "extraordinary forum for any young artist." Besides popular "happenings," Bellamy featured the works of Marco Polo di Suvero, George Segal, Claes Oldenburg, Larry Poons, Donald Judd, and a then-unknown Andy Warhol. A few years later, at his Oil & Steel Gallery, he championed the work of Yoko Ono. Heavy drinking, drugs, and three packs of unfiltered cigarettes per day did him in. A man of shrewd and impeccable taste, Bellamy's role in promoting the often misunderstood art of abstract expressionism, pop, and minimalism was profound. This is an endearing and illuminating work of biography. A shadowy figure of the 1960s art world is gloriously revealed.

     COPYRIGHT(2016) Kirkus Reviews, ALL RIGHTS RESERVED.

6. • premium: True
   • source:
   • content:

     Starred review from June 1, 2016
     

     The 1960s was a revolutionary era, especially in regards to art. During these years one man strongly impacted the transformation of contemporary art and the emergence of pop art and yet kept himself somewhat hidden from view. Stein (editor, An Inside View: A Survey of Prints, 1954-2007; Picturing the Modern Amazon: The Hypermuscular Woman) brings Richard Bellamy (1927-98) into the spotlight. Bellamy was best known as an art dealer, but he was also the director of the Green Gallery between the years of 1960 and 1965. His art space launched the careers of creators such as Claes Oldenburg, Dan Flavin, and Tom Wesselmann. It even featured work by Andy Warhol at one point. Despite the gallery's alignment with such successful artists, Bellamy was never quite comfortable with his role as tastemaker in the art world, and he suffered because of it. Stein explores Bellamy's troubled personal and professional lives in this semiauthorized biography that introduces a low-profile but influential figure who helped turn the art world upside down. VERDICT This is a must for anyone interested in the creative revolution of the Sixties.--Rebecca Kluberdanz, New York P.L.

     Copyright 2016 Library Journal, LLC Used with permission.

7. • premium: True
   • source:
   • content:

     Starred review from July 1, 2016
     Richard Bellamy, director of the cutting-edge Green Gallery in New York in the early 1960s, has largely been overshadowed by the avant-garde artists he launched, including Mark di Suvero, Claes Oldenburg, James Rosenquist, and Donald Judd. Yet as curator and critic Stein discovered during the 20 years she spent researching Bellamy's profoundly unconventional life, he is utterly fascinating in his own right. Born in Ohio in 1927, Bellamy was a target for prejudice as the son of a Chinese mother and a white American father, both doctors. Seductive, bohemian to the core, complex, and conflicted, Bellamy loved poetry, music, women, sculpture, and pranks. He had a karmic propensity to be in the right place at the right time as well as what he described as an intensity of perception. He was also an alcoholic who kept his true self carefully masked and an art dealer whose unerring genius for recognizing significant new artists was undermined by his aversion to commerce. Stein not only brings the elusive Bellamy into the light, she also surrounds him with an intriguing cast of artists and writers and fellow art dealers, most notably Ivan Karp and art collectors Robert and Ethel Scull. Stein's compellingly intimate portrait of a creative, passionate, and essential advocate for pop art, minimalism, and conceptual art doubles as a fresh and dynamic chronicle of a historic artistic revolution.(Reprinted with permission of Booklist, copyright 2016, American Library Association.)

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Richard Bellamy and the Transformation of Modern Art

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Farrar, Straus and Giroux

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