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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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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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