Published on the occasion of an exhibition at Casa Luis Barragan, Mexico City.

Andy Warhol’s iconic portraits of Elizabeth Taylor are images that have lost none of their explosive power in the decades that separate the present from the moment of their making. Frequently hailed as the greatest movie star of all time, Elizabeth Taylor was a friend of Andy Warhol in the 1970s and 1980s. The personification of charisma, whose highly public life was charged with drama, tragedy, and romance, this iconic muse was a perfect vehicle for Warhol’s vivid silk-screen portraiture derived from press clippings, publicity shots, and film stills. Warhol made over fifty portraits of Taylor in all her incarnations—from the ethereally beautiful child actress in National Velvet to the commanding, voluptuous screen goddess of Cleopatra. Andy Warhol: Liz sheds light on the relationship between Warhol and one of his most notorious muses.

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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Giorgio de Chirico (1888-1978) is widely regarded as one of the masters of 20th century art. The originator of Metaphysical Painting, and precursor of the Surrealists, de Chirico was born in Volos, Greece, studied at the Academy of Fine Arts in Munich, and was initially influenced by Bocklin and Klinger. However he soon developed his own distinctive style, producing the first of his 'enigmatic' paintings in Italy around 1910. De Chirico's early works evoked an uneasy atmosphere through their use of strange perspectives, illogical shadows and open spaces, and he developed a theory of 'metaphysical insight' which located familiar objects in essentially mysterious relationships. In de Chirico's oeuvre a naturalistic vision always alternates, like waking and sleeping or dreaming, with another vision presenting abnormal forms and situations. If de Chirico's first period of Metaphysical paintingbetween 1910 and 1918 - remains his most celebrated, and has provided us with some of his most memorable images, it is also true that his later Metaphysical period was also a time of intense creativity and evocative art-making. But this period is his least well known. De Chirico moved on from his baroque and romantic paintings of the Forties and Fifties - works which diminished his standing among a number of art critics - to a 'new' Metaphysical period which related strongly to the rich, early phase of his work. This book is a celebration of that period in de Chirico's career, and evaluates not only his paintings, but also the mythic and symbolic sculptures produced at this time. De Chirico: The New Metaphysics is an essential resource for any reader interested in appreciating de Chirico's uniquecontribution to 20th century art.