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ARTS & CULTURE ENTERTAINMENT
A storied art collection shrouded inmystery will anchor new UC
Irvine
museum
By CHRISTOPHER KNIGHTART CRITIC | NOV 15, 2017
UC Irvine has been gifted the the storied Buck Collection for
its planned Museum and Institute ofCalifornia Art, or MICA. Here's
a rare look at the collection.
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W hen real estate developer Gerald Buck was selling a rural
farmnear San Luis Obispo, land he bought in a failed
oil-drillingscheme, a prospective buyer offered him an elegant Old
Masterpainting by Anthony van Dyck in lieu of cash. Buck had no
interest in art, but neither did he have any other buyers in
sight. So Buckplunged into researching the painting’s authenticity,
history of ownership andmarket value — then agreed to the
trade.
And he was off.
The Van Dyck is long gone, but now, four decades later, the
Gerald E. BuckCollection has grown to more than 3,200 paintings,
sculptures and works onpaper. Not only is the vast trove the finest
holding of its kind in private hands,the collection is poised to
anchor an ambitious new museum being launchedat UC Irvine.
Chancellor Howard Gillman is expected to announce Wednesday
theformation of the UCI Museum and Institute for California Art, or
MICA, withthe Buck Collection as its core. The collection, much
coveted by othermuseums, focuses on artists who emerged in
California between World War IIand 1980.
In addition to his art-filled home, where numerous major works
were kept, anondescript, unmarked former post office building a few
blocks from thebeach in Laguna provided a private place for Buck to
study his collection. Fewhave ever been inside. When Stephen
Barker, dean of UCI’s Claire TrevorSchool of the Arts, recently
opened the building for The Times, about 80 workswere on display in
several large galleries plus offices, a small kitchen, abathroom
and hallways.
Storage racks held another 100 or so works. The remaining 3,000
items are atan art storage facility in Los Angeles. Many of the
state’s most important artistsare featured, including Joan Brown,
Jay DeFeo, Richard Diebenkorn, DavidHockney and Ed Ruscha. In all,
they number more than 500.
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A 1960s Wallace Berman Verifax collage, left, is among a hundred
works currently in the collector's Laguna Beach storageracks. (Al
Schaben / Los Angeles Times)
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When Buck began collecting seriously three decades ago,
California wasshedding its entrenched reputation as a regional,
parochial art scene.Collectors like Edythe and Eli Broad in Los
Angeles and Doris and DonaldFisher in San Francisco were raising
the temperature by avidly competing formajor, big-ticket art, some
made in California, but the majority produced inNew York and
Europe.
Some of the greatest collectors search below the radar, however,
digging deepinto under-recognized and undervalued territories. Buck
is among them.
Richard Diebenkorn, "Albuquerque," 1952, oil on canvas (Al
Schaben / Los Angeles Times)
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MICA has been a long time coming. When architect William Pereira
unveiledthe master plan for a new UC campus on a thousand acres of
rolling ruralfarmland at Irvine Ranch in 1962, he identified a spot
near the entrance as anideal place to erect an art museum. Half a
century after construction on theresearch university began, and
after many uneventful years as a parking lot,the site will become
MICA’s home.
News of the unrestricted Buck gift comes as a surprise.
According to Barker, who will be executive director of MICA, it
is unclear whyBuck chose the school to receive the bequest. He was
an exceedingly privateperson whose low-key presence made him an
anomaly in SouthernCalifornia’s high-profile art world, where
flashier collectors hold sway.
Buck, who died at 73 in 2013, lived in Newport Beach. Few knew
the extent ofhis art collecting, and fewer still have seen the full
fruits of his endeavors. A2013 telephone call from a trust attorney
notified the university of thebountiful legacy, which has taken
years to work its way through probate. Thecollector, born in Culver
City and an alumnus of UCLA, had no specific ties tothe school.
“Perhaps,” Barker said, “it is simply because we are a prominent
researchuniversity in the community where he lived.”
“A research museum concentrating on 20th-century California art
is distinctive – andpotentially revelatory. The field remains
woefully understudied.
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Buck’s daughter Christina points to the possible influence of
art historianJonathan Fineberg, emeritus professor at the
University of Illinois whobefriended her father when he was a
visiting lecturer at UCI.
Stephen Barker, dean of UCI's Claire Trevor School of the Arts,
is executive director of MICA. (Al Schaben / Los AngelesTimes)
Gerald E. and Bente Buck (Christina Buck)
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Biological sciences form the school’s flagship discipline. UCI
does have a smallart gallery, as well as the Beall Center for Art
and Technology, which promotesthe intersection of the arts,
sciences and engineering. A modest art historyprogram resides in
its humanities department, while the School of the Artsoffers
studio and curatorial studies programs. The plan for MICA is to
developa PhD in museum studies and a master’s degree in art
conservation.
The Buck Collection includes scores of artists, among them
Wallace Berman,Robert Irwin and John McLaughlin. It includes more
than 10 works each byJohn Baldessari, Larry Bell, Bruce Conner and
Llyn Foulkes. Six of thecollection’s 10 Carlos Almaraz paintings,
ranging from 1978 to 1989, are in theartist’s current retrospective
exhibition at the Los Angeles County Museum ofArt.
In addition to postwar art, the collection includes plein air,
Social Realist andimportant early Modern paintings from the first
half of the 20th century,especially in Southern California. Those
holdings include metaphysicalabstractionists Agnes Pelton and
Henrietta Shore, Surrealists Knud Merrildand Lorser Feitelson,
muralist Belle Baranceanu and colorist Oskar Fischinger.
The gift is accompanied by 398 file boxes of art books, auction
catalogs, thecollector’s notepads and acquisition records.
Light & Space sculptures by, from left, Helen Pashgian,
DeWain Valentine and Robert Irwin. (Al Schaben / Los Angeles
Times)
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A research museum concentrating on 20th-century California art
is distinctive— and potentially revelatory. The field remains
woefully understudied. But theannouncement coincides with a
$2.5-million gift from the trust established byBuck and his late
wife, Bente, to the Smithsonian’s Archives of American Art,where he
served as a trustee; funds are targeted to its West
Coastdocumentation program.
The collection’s 20th-century span made it an unsuitable bequest
for a strictlycontemporary art museum. Larger Southern California
museums, such asLACMA and the Huntington Library, Art Collections
and Botanical Gardenswere considered but had been generally
indifferent to many of the collection’sartists in the decades when
the work was being made.
Smaller area institutions where Buck often lent art for
exhibitions — LagunaArt Museum, Orange County Museum of Art and
Palm Springs Art Museumamong them — had expressed interest in the
collection. For them, a gift wouldhave been transformative, but
their research capacities are limited.
Christina Buck said that after her father acquired the Van Dyck,
he began tobuy more European paintings, including an early Van
Gogh. But soon he
Buck never lost his taste for florid Baroque framing, even on
Expressionist paintings by, from left, Nathan Oliveira,
CarlosAlmaraz and Wolfgang Paalen. A small Peter Voulkos bronze
stands on a pedestal at the center. (Al Schaben/Los
AngelesTimes)
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realized that forming a significant collection of such material
was unlikely.
Buck switched to California Impressionism, an early 20th-century
regionalstyle based on a European model. His actual piece of the
bucolic Californialandscape had metamorphosed into painted pictures
of it.
Encouraged by veteran Los Angeles art dealer Tobey Moss, whose
BeverlyBoulevard gallery has specialized in art from the 1920s
forward, Buck rapidlymoved into more adventurous early Modernist
and postwar California art.
“We got together at a crucial moment,” Moss explained in an
interview. “Hewas a very confident person, very smart and aware of
the forces of history.”
Buck began by collecting so-called California Impressionism,
such as Maurice Braun's undated "Springtime," left; at right,Anders
Aldrin's 1953 landscape abstraction, "Norway Fjord." (Al Schaben /
Los Angeles Times)
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As the state’s pastoral landscape urbanized, partly a result of
his own activitiesas an Orange County developer, so did the
collector’s cosmopolitan taste.
Moss met Buck in 1984 when he came into her gallery and,
intrigued by HelenLundeberg’s dream-like Surrealist paintings and
graceful geometricabstractions, began asking questions. Eventually
Buck acquired 46 works fromMoss, including seven of his 10 by
Lundeberg spanning her career from the1930s through the 1970s.
(Paradoxically, he never lost the taste for elaborate,Van Dyck-era
gilded framing, even for his most avant-garde pictures.)
Otheracquisitions included significant works by Feitelson, Merrild
and GordonWagner.
Buck sold most of his traditional landscape acquisitions. A
number went toJoan Irvine Smith, whose plein air collection formed
the Irvine Museum in1993. Ironically, those paintings too will find
their way to MICA: The universityannounced last year that it had
received the Irvine collection as a gift. Morethan 1,200 paintings
by Guy Rose, William Wendt, Granville Redmond, EdgarPayne and other
landscape and genre painters are included.
Landscapes and genre scenes from the 1920s and '30s by
lesser-known artists such as Rowena Meeks Abdy, left; PhilParadise,
top right; and, Joseph Weisman, bottom right, are represented. (Al
Schaben / Los Angeles Times)
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An appraisal of the Buck gift is underway, but a spokesman says
the final tallywill be in the “tens of millions.” For example,
works of comparable quality tothe 1952 painting “Albuquerque,” a
large Abstract Expressionist masterpieceby Diebenkorn, have sold at
auction for more than $6 million. Overall, thedonation ranks among
the largest gifts ever made to UCI.
The MICA project is not without hurdles. The target for
completion is four tofive years. The timetable is aggressive, and
fundraising is required.
UCI’s Barker said that, given the prominence of the building
site adjacent tothe school’s Irvine Barclay Theatre, several
leading international architectswill be approached for a design
competition as early as next summer. Thebudget is expected to be
more than $100 million — and perhaps considerablymore, when an
endowment for operations is figured in.
The Buck Collection is unprecedented in scope but not
comprehensive.Representation of the 1960s and ’70s Chicano,
feminist and Black Artsmovements, for example, is limited.
California is also unique in that its first major artist,
Carleton Watkins (1829-1916), was neither a painter nor a sculptor
but a photographer. In keepingwith the state’s modern reputation
for experiment and innovation, the camerawas less than a generation
old when Watkins began in the 1850s. WhetherMICA will include
camerawork, both still and video, remains to be seen;
butcollections of the stature of Buck’s can act as magnets for
future museumphilanthropy.
Southern California was on the brink of overtaking the Bay Area
as the state’sartistic leader when Buck began his collection, and
today L.A. is among theforemost global centers for new art
production. Van Dyck notwithstanding,that would make the region’s
new museum both essential and unique: MICAhas the potential to tell
the crucial story.
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ALSO
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century, is hidingsomewhere in L.A.
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Christopher Knight
Christopher Knight is art critic for the Los Angeles Times. He
is a three-time finalist for the Pulitzer Prizein criticism (1991,
2001 and 2007). Knight received the 1997 Frank Jewett Mather Award
for distinction inart criticism from the College Art Assn.,
becoming the first journalist to win the award in more than
25years. He has appeared on CBS’ “60 Minutes,” PBS’ “NewsHour,”
NPR's “Morning Edition” and “All ThingsConsidered” and CNN and was
featured in the 2009 documentary movie about the
controversialrelocation of the Barnes Foundation’s art collection,
“The Art of the Steal.”
Peter Alexander, "Thrasher," 1992, oil on canvas. (Al Schaben /
Los Angeles Times)
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