Michael Findlay's memoir, Portrait of the Art Dealer as a Young Man, offers a view of New York's vibrant art scene in the 1960s and 1970s. As both an eyewitness and active participant, Findlay provides a perspective in which he plays a critical role in this pivotal era in contemporary art. I find this book interesting because I lived first as an art student on the scene, and then as a conceptual artist during the period Findlay portrays. As such, some of his memories of certain events and people correspond to mine, and still others go awry, but I won’t go there, for this review that would require a much closer reading of his texts and of my memories than this space affords me. There is some exaggeration here, but after all this book is a memoir and not a history per se.

What Findlay’s book does give us is an account that is in parts journalistic, an eyewitness testimony, reminiscences, as well as a personal chronicle with commentary. It is meant to give a snapshot of his experiences on the New York art scene during the 1960s and 1970s. to that end Findlay is a fine storyteller— he provides vivid descriptions of the New York art scene, including the social dynamics at venues like The Chelsea Hotel, St. Mark's Place, Studio 54, and Max's Kansas City as well as candid accounts of the wild parties and freewheeling lifestyle of the 1960s and 1970s.

This account blends various perspectives, but his central objective is to impress upon us the influential role he played in the New York art scene during a pivotal era. This is not a scholarly book involving complex theories and detailed research; instead, it is geared toward a general audience. As such, its tone is that of the eyewitness participant providing a personal perspective on historical events. At times, his goal is to recapture experiences as well as give a nuanced account of his life during this significant period. Consequently, not only are significant cultural, social, and political events identified, but also personal anecdotes and reflections on his interactions with artists, collectors, and personal life - he married model Naomi Sims in 1973 ( they were divorced in 1991.) These supply the reader with insights into the dynamics of the art market and artistic trends of the 1960s-70s

Findlay’s entry into the art world begins with his early days working for the Richard Feigen Gallery at the young age of 18, where he quickly secured a position in 1964 shortly after arriving in New York from Scotland. While there, he introduced American audiences to emerging British pop artists like Allen Jones, Gerald Laing, and the op artist Bridget Riley. Later, he would have his gallery and then go on to work for various high-profile entities. By his own account, Findlay represents himself as having been instrumental in establishing Soho as a key location for contemporary art when he opened Feigen Downtown in 1968, where he curated exhibitions of emerging artists. Soon after, Findlay started his gallery, J.H. Duffy and Sons Ltd. (1970 until 1977), where he exhibited artists such as Sean Scully, Hannah Wilke, John Baldessari, Stephen Mueller, and Billy Sullivan. During this period, he encountered several key challenges which, according to his account, provided him with the ability to navigate financial constraints, build a client base, take risks on new artists, and establish his credibility. The gallery was one of the first in SoHo, a neighborhood that was not yet established as an art hub. Consequently, its audience consisted of artists, residents, and a very small number of adventurous collectors. Though the early days of Soho provided a vibrant environment for innovation, it also required young dealers like Findlay to stay ahead of trends and continuously adapt to the evolving landscape of contemporary art. As such, he not only had to navigate the uncertainty of whether his artists would gain recognition and sell but he also had to worry about other dealers who sought to poach his successful artists.

What truly launched Findlay on his way was his friendship with Andy Warhol, who was a central figure in the New York art scene, and his influence extended beyond visual arts to encompass the entire cultural milieu of the time. Warhol's prominence and innovative approach to art made him a key figure in the art world. Findlay after meeting Warhol at an after-opening dinner, developed a personal relationship with him, which later provided Findlay with unique opportunities to engage with Warhol's work and his broader network. It was Findlay who secured early portrait commissions for Warhol, including such notables as Dennis Hopper, which helped to elevate Warhol's profile and brought attention to Findlay as a dealer. Likewise, he became friends with David Hockney, another influential artist whose reputation Findlay leveraged to attract other high-profile artists to his gallery. Through these relationships, Findlay was able to build a robust network of contacts in the art community, which were crucial for the success of his gallery, J.H. Duffy and Sons Ltd., and for his later roles in the art world.

His roles at Christie's provided him with a deeper understanding of the economic and cultural forces shaping the art world at that time. The biography reflects on the changing landscape of the art community, from the experimental and avant-garde movements to the commercialization of art. The period he was director at Acquavella Galleries further solidified his position in the art market, particularly in the realms of Impressionist and Modern Art. So, while Findlay was a player, he was part of a larger ecosystem of innovation and change in which, rather than merely being a participant, other young dealers like Paula Cooper and Klaus Kertess were more central to shaping the period and its aesthetic.

While Findlay's memoir is not a scholarly work, it offers insights into the art market and artistic trends of the period. His experiences at Christie's auction house from 1984 to 2000, where he rose to become International Director of Fine Arts, provide a deeper understanding of the economic forces shaping the art world. It's important to note that while Findlay played a role in the New York art scene, he was part of a larger ecosystem of innovation and change. Other young dealers like Paula Cooper and Klaus Kertess (Bykert Gallery) were significantly more instrumental in shaping the period’s history and its aesthetics. In conclusion, Michael Findlay's memoir offers a fascinating personal account of a transformative period in the New York art world. While it may not be a comprehensive historical record, it provides insights into the dynamics of the rise of the contemporary art market, art, and the cultural shifts of the 1960s and 1970s, and the personalities that shaped this influential era.