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Featured Works

Bend of the River

A painting of trees by a creek
Channel Pickering Townsley, Bend of the River, 1919, Oil on canvas, 25 x 30 in. UCI Jack and Shanaz Langson Institute and Museum of California Art, Gift of The Irvine Museum

Bend of the River

Channel Pickering Townsley

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Staff Pick | Monthly Muse June 2021

A devoted wanderer, I am often compelled to explore just a bit further. What might be discovered around the next turn? My curiosity and wonder draw me to Channel Pickering Townsley’s Bend of the River, 1919.

Invited in, I follow.

A calm, quiet morning, I imagine the slight rustling of leaves, the faint call of a distant meadowlark, and the untamed churning of the river. Gold patches radiate on branch and chaparral, while long, violet tree-shadows slowly form as the Sun begins to burst over the horizon. Intense contrasts of blue and yellow lead to a well-worn, sunlit path that follows the bend. A faraway cottage perches on the bank.

I reluctantly depart the solace of the painting, leaving no footprint, broken twig, or sign of my presence. The scene remains untouched, pristine into perpetuity.

Dora James
Education Coordinator, Langson IMCA

Filed Under: Featured Works

Cosmic Cruise

an image of people in a Model-T automobilefloating in space
Ester Hernandez, Cosmic Cruise , 1990, Screenprint, 37 x 26 in. The Buck Collection at UCI Jack and Shanaz Langson Institute and Museum of California Art © 1990 Ester Hernandez

Cosmic Cruise

Ester Hernandez

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Staff Pick | Monthly Muse April 2021

In the summer of 2020, I began researching the Latinx and Chicanx artists in IMCA’s collection. I had very limited education in Latinx/Chicanx art and art history before embarking on this project. This work has emboldened me to continue to pursue a career in art historical education focusing on the Latinx experience. The transcendent feminine connection in Cosmic Cruise by Ester Hernandez has remained with me since I first saw it—that moment when you notice something and then all of a sudden you see it everywhere. A few months later I randomly bought a book on Chicana spiritual art. To my surprise, Cosmic Cruise was featured, and I was able to gain a deeper insight into this print. The inspiration for the work comes from the artist’s mother being the first woman to drive a car in the small agricultural town where she was raised. The theme of motherhood and feminine resilience, and the month of May in which I am writing this, has made me think of my own mother. This month we celebrate Mother’s Day and I also celebrate my mom’s birthday. She is a woman who also embarked on many “firsts”—the first woman in her family to migrate to the US, the first to drive, and the first to hold a job.

Endria Suarez, '21, BA (Art History)
Intern and UCI Student Museum Educator, Langson IMCA

Filed Under: Featured Works

Look at Me

a realistic graphite drawing of a pool scene
D.J. Hall, Look at Me, 2004, Graphite on paper, 22 x 30 in. The Buck Collection at UCI Jack and Shanaz Langson Institute and Museum of California Art

Look at Me

D. J. Hall

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Staff Pick | Monthly Muse April 2021

What is it about a sparkling pool on a hot summer day that makes kids want to show off their tricks and water skills to any adult within ear- and eyeshot?

I had a good chuckle the first time I saw D.J. Hall’s Look at Me and read its perfectly fitting title. It brought back summer memories of swimming with my brother and cousins. We constantly shouted, “LOOK AT ME! LOOK AT ME!”, as we jumped, dove, bellyflopped, and splashed in the water. Meanwhile, our parents (sitting in the shade talking about “boring adult stuff”) humored us with quick glances and feigned enthusiasm—while in the same breath reminding us, again, that they didn’t want to get splashed.

My daughter, who is almost three years old, has already discovered the power of the phrase “look at me.” I suspect it will not be long before I am the parent finding myself caught between adult conversations off to the side and my child’s performance right in front of me. She will undoubtedly be just as determined as the girls in Hall’s drawing to capture the full attention of every adult sitting poolside with her best Esther Williams impressions. Hopefully, I won’t get too soaked from being in the splash zone.

Katie Zulueta
Assistant Museum Registrar, IMCA

Filed Under: Featured Works

Red and Green #1

Abstract painting, Red and Green #1
James Budd Dixon, Red and Green #1, circa 1958, Oil on canvas, 84 x 50 in. The Buck Collection at UCI Jack and Shanaz Langson Institute and Museum of California Art

Red and Green #1

James Budd Dixon

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Staff Pick | Monthly Muse March 2021

In preparing for the First Glimpse exhibition [which introduced the public to Gerald Buck’s private collection gifted to UCI], I visited IMCA’s collection storage to see several works I had selected from the collector’s dog-eared notebooks. James Budd Dixon’s Red and Green #1 was not on my list. The painting was out, leaning in a corner, and half unwrapped nearby the works I had chosen to view. Its loamy, thick, encrusted, fetid, forest-floor energy caught my attention immediately. I spent a good deal of time with the painting that day, eventually deciding that I wanted to include it in First Glimpse and was willing to swap a work to give Red and Green #1 a prime wall in the exhibition.

It’s not a particularly clear or neighborly picture. It is all about the internal search of the painter made external through a kind of brutal material exploration. Its clotted, sludgy surface has a gloomy air of painting as an embodiment of murky nature—decay—an all-over impasto that appears to have been mixed in a cauldron with a wooden spoon as much as it was painted with brushes on a stretched canvas. Budd Dixon’s inelegant motions feel hard won and brutally strained. The painting feels primordial.

I’m a painter first and like all artists I have my ways of constructing works that is particular to my personality and connected to my motives. As an artist pushing at my own boundaries, I tend to gravitate toward works I can’t fully understand—and towards ways of painting that are unlike my own and go against the grain of my predilections. Red and Green #1 fits this bill. It’s a painting that shows its own struggle of becoming. In that way, it is like fully entering into another painter’s process—a process that challenges my own to perhaps look for more mess. Or at least be open to the difficulties of making a more monstrous picture.

Kevin Appel
Artist
Professor and Chair, Department of Art, UC Irvine
Interim Associate Director (Curatorial), Langson IMCA

Filed Under: Featured Works

Suburban Nightmare

Carlos Almaraz, Suburban Nightmare
Carlos Almaraz, Suburban Nightmare, 1982, Pastel, 19 x 25 in. The Buck Collection at UCI Jack and Shanaz Langson Institute and Museum of California Art © The Carlos Almaraz Estate 2018 

Suburban Nightmare

Carlos Almaraz

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Staff Pick | Monthly Muse February 2021

This pastel drawing holds my gaze. It’s as if the artist was counting on the human urge that renders us incapable of averting our eyes from a disastrous scene. Through this act of observation, I become one of the bystanders—looking on as the house is devoured by flames and engulfed in a billowing cloud of black smoke. I am helplessly frozen in place, in awe of the unstoppable force of nature. Yet beyond this terrible scene, and in contrast, is another spectacular natural event on which my eyes can’t help but linger—a striking and vibrant sky.

Chanelle Mandell
Associate Museum Registrar, Langson IMCA

Filed Under: Featured Works

San Gorgonio from Beaumont

San Gorgonio from Beaumont
Anna Hills, San Gorgonio from Beaumont, 1927, Oil on canvas, 20 x 30 in. UCI Jack and Shanaz Langson Institute and Museum of California Art, Gift of The Irvine Museum

San Gorgonio from Beaumont

Anna Hills

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Staff Pick | Monthly Muse November 2020

San Gorgonio from Beaumont by Anna Hills reminds me of long, winding drives up to the mountains, the sight of our destination in the distance, and the expectation of an enjoyable time hiking and backpacking in nature. Even though over 90 years have passed since the artist made this painting, in many ways the view has changed very little. While houses, roads, and other aspects of our modern life have altered the landscape, the outline of the mountains and the round top of San Gorgonio, I imagine, would be recognizable to Anna Hills today.
 
Dawn Minegar
Assistant Museum Registrar, Langson IMCA

Filed Under: Featured Works

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Langson IMCA’s ongoing collections research continues to provide new information, which will result in updates, revisions, and enhancements to object records. At the time of publication image credits are reviewed by Langson IMCA’s curatorial staff and reflect the most current information the museum has in its database but may be incomplete.