Eye of the Sixties

Name: Eye of the Sixties
Brand: Farrar, Straus and Giroux
SKU: 03730972

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4938781Eye of the Sixtieshttps://www.gandhi.com.mx/eye-of-the-sixties-9780374715205/phttps://gandhi.vtexassets.com/arquivos/ids/3790542/ecad21d0-f85f-4f2f-a701-31fabf1c71ba.jpg?v=638691260450070000206251MXNFarrar, Straus and GirouxInStock/Ebooks/"[An] evocative portrait" of one of the most influential and enigmatic American art dealers of the 1960s (Barbara Rose, The New York Times). In 1959, Richard Bellamy was a witty, poetry-loving beatnik on the fringe of the New York art world. By 1965, he was representing Mark di Suvero, had been the first to show Andy Warhols pop art, and had introduced the new genre of installation art. An eccentric art dealer and founder of the Green Gallery on Fifty-Seventh Street, Bellamy helped discover many of the innovative successors to the abstract expressionists, including Claes Oldenburg, James Rosenquist, Donald Judd, Dan Flavin, Walter de Maria, and many others. But, uninterested in anything more than showing the artists he loved, Bellamy slowly slid into obscurity while fellow dealers such as Leo Castelli and Sidney Janis capitalized on the stars he helped find. Based on decades of research and on hundreds of interviews with Bellamys artists, friends, colleagues, and lovers, Judith E. Steins Eye of the Sixties rescues the legacy of the elusive art dealer and tells the story of a counterculture that became the mainstream. Ranging from the Beat orbits of Provincetown to white-glove events like Guggenheims opening gala, from Norman Mailers parties to historic downtown Happenings, Richard Bellamys story is a remarkable window on the art of the twentieth century and the making of a generations aesthetic. "[Judith E. Steins] engrossing, impressively researched, consistently readable, and often entertaining tale restores a crucial figure to his rightful place in the annals of postwar American art." Lilly Wei, Art in America "By using [Belamys] 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." Ann Landi, The Wall Street Journal "A man of shrewd and impeccable taste, Bellamys 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." Kirkus Reviews...3730972Eye of the Sixties206251https://www.gandhi.com.mx/eye-of-the-sixties-9780374715205/phttps://gandhi.vtexassets.com/arquivos/ids/3790542/ecad21d0-f85f-4f2f-a701-31fabf1c71ba.jpg?v=638691260450070000InStockMXN99999DIEbook20249780374715205_W3siaWQiOiIwMjQ2ODQxYy0zYzVlLTQxMDAtOTVhNC01NzJiNTRiNTMxMzMiLCJsaXN0UHJpY2UiOjI1MSwiZGlzY291bnQiOjQ1LCJzZWxsaW5nUHJpY2UiOjIwNiwiaW5jbHVkZXNUYXgiOnRydWUsInByaWNlVHlwZSI6Ildob2xlc2FsZSIsImN1cnJlbmN5IjoiTVhOIiwiZnJvbSI6IjIwMjQtMTItMDRUMDQ6MDA6MDBaIiwicmVnaW9uIjoiTVgiLCJpc1ByZW9yZGVyIjpmYWxzZX1d9780374715205_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 Warhols 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 Americas 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 Guggenheims 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 Bellamys artists, friends, colleagues, and lovers, Judith E. Steins 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 Bellamys life is a remarkable window into the art of the twentieth century and the making of a generations 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...(*_*)9780374715205_[An] evocative portrait of one of the most influential and enigmatic American art dealers of the 1960s (Barbara Rose, The New York Times).In 1959, Richard Bellamy was a witty, poetry-loving beatnik on the fringe of the New York art world. By 1965, he was representing Mark di Suvero, had been the first to show Andy Warhols pop art, and had introduced the new genre of installation art. An eccentric art dealer and founder of the Green Gallery on Fifty-Seventh Street, Bellamy helped discover many of the innovative successors to the abstract expressionists, including Claes Oldenburg, James Rosenquist, Donald Judd, Dan Flavin, Walter de Maria, and many others. But, uninterested in anything more than showing the artists he loved, Bellamy slowly slid into obscurity while fellow dealers such as Leo Castelli and Sidney Janis capitalized on the stars he helped find.Based on decades of research and on hundreds of interviews with Bellamys artists, friends, colleagues, and lovers, Judith E. Steins Eye of the Sixties rescues the legacy of the elusive art dealer and tells the story of a counterculture that became the mainstream. Ranging from the Beat orbits of Provincetown to white-glove events like Guggenheims opening gala, from Norman Mailers parties to historic downtown Happenings, Richard Bellamys story is a remarkable window on the art of the twentieth century and the making of a generations aesthetic.[Judith E. Steins] engrossing, impressively researched, consistently readable, and often entertaining tale restores a crucial figure to his rightful place in the annals of postwar American art. Lilly Wei, Art in AmericaBy using [Belamys] 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. Ann Landi, The Wall Street JournalA man of shrewd and impeccable taste, Bellamys 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. Kirkus Reviews...(*_*)9780374715205_"[An] evocative portrait" of one of the most influential and enigmatic American art dealers of the 1960s (Barbara Rose, The New York Times). In 1959, Richard Bellamy was a witty, poetry-loving beatnik on the fringe of the New York art world. By 1965, he was representing Mark di Suvero, had been the first to show Andy Warhols pop art, and had introduced the new genre of installation art. An eccentric art dealer and founder of the Green Gallery on Fifty-Seventh Street, Bellamy helped discover many of the innovative successors to the abstract expressionists, including Claes Oldenburg, James Rosenquist, Donald Judd, Dan Flavin, Walter de Maria, and many others. But, uninterested in anything more than showing the artists he loved, Bellamy slowly slid into obscurity while fellow dealers such as Leo Castelli and Sidney Janis capitalized on the stars he helped find. Based on decades of research and on hundreds of interviews with Bellamys artists, friends, colleagues, and lovers, Judith E. Steins Eye of the Sixties rescues the legacy of the elusive art dealer and tells the story of a counterculture that became the mainstream. Ranging from the Beat orbits of Provincetown to white-glove events like Guggenheims opening gala, from Norman Mailers parties to historic downtown Happenings, Richard Bellamys story is a remarkable window on the art of the twentieth century and the making of a generations aesthetic. "[Judith E. Steins] engrossing, impressively researched, consistently readable, and often entertaining tale restores a crucial figure to his rightful place in the annals of postwar American art." Lilly Wei, Art in America "By using [Belamys] 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." Ann Landi, The Wall Street Journal "A man of shrewd and impeccable taste, Bellamys 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." Kirkus Reviews...9780374715205_Farrar, Straus and Girouxpreventa9780374715205_9780374715205Judith E.InglésMéxicohttps://getbook.kobo.com/koboid-prod-public/openroadmedia-epub-55e79876-07ba-4382-a9f4-5bdbe9f3ce49.epub2024-05-01T00:00:00+00:00Farrar, Straus and Giroux