By Judith E. Stein
In 1959, Richard Bellamy used to be a witty, poetry-loving beatnik at the edge of the recent York paintings international who was once attracted to artists impatient for switch. via 1965, he was once representing Mark di Suvero, used to be the 1st to teach Andy Warhol’s pop paintings, and pioneered the perform of “off-site” exhibitions and brought the recent style of install artwork. As a broker, he helped observe and champion some of the leading edge successors to the summary expressionists, together with Claes Oldenburg, James Rosenquist, Donald Judd, Dan Flavin, Walter De Maria, and so forth.
The founder and director of the fabled eco-friendly Gallery on Fifty-Seventh highway, Bellamy thrived at the power of the sixties. With the covert help of America’s first star paintings creditors, Robert and Ethel Scull, Bellamy received his footing simply as pop artwork, minimalism, and conceptual artwork have been taking carry and the paintings international used to be turning into a playground for millionaires. but as an eccentric impresario dogged via alcohol and bored with earnings or posterity, Bellamy not often did greater than exhibit the paintings he enjoyed. As fellow purchasers reminiscent of Leo Castelli and Sidney Janis capitalized at the stars he helped locate, Bellamy slowly slid into obscurity, changing into the quiet guy in oversize glasses within the nook of the room, a figuring out and mischievous smile on his face.
Born to an American father and a chinese language mom in a Cincinnati suburb, Bellamy moved to ny in his twenties and made a lifestyles for himself among the Beat orbits of Provincetown and white-glove occasions just like the Guggenheim’s commencing gala. irrespective of the scene, he used to be constantly thought of “one of us,” partying with Norman Mailer, befriending Diane Arbus and Yoko Ono, and internet hosting or acting in old Happenings. From his early days on the Hansa Gallery to his time on the eco-friendly to his later existence as a personal broker, Bellamy had his finger at the pulse of the tradition.
Based on a long time of analysis and on 1000's of interviews with Bellamy’s artists, neighbors, colleagues, and fans, Judith E. Stein’s Eye of the Sixties rescues the legacy of the elusive paintings broker and tells the tale of a counterculture that turned the mainstream. A story of cash, flavor, loyalty, and good fortune, Richard Bellamy’s lifestyles is a striking window into the artwork of the 20 th century and the making of a generation’s aesthetic.
"Bellamy had an figuring out of artwork and a truly positive feel of discovery. there has been not anyone like him, i believe. I definitely contemplate myself his pupil." --Leo Castelli
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