Melva bucksbaum biography of donald

  • Melva always admired Simon's work and took great pride in her accomplishments.
  • By the time she died in at age 82, Melva Bucksbaum was something of a legend in contemporary art collecting circles.
  • Growing up in Washington, D.C., in the early s, Connecticut collector Melva Bucksbaum used to leave her Russian immigrant parents'.

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    *UPDATED*

    Melva Bucksbaum, art collector, passionate patron of the arts and longtime trustee of the Whitney Museum of American Art died this weekend at the age of 82.

    She built a legacy with her third husband, commodities trader Raymond Learsy, collecting over  artworks, mostly by contemporary artists. Their collection included work by photographers Nan Goldin and Robert Mapplethorpe, painter David Salle, sculptor Richard Serra, Cuban performance and earthworks artist Ana Mendieta, conceptual artist Jenny Holzer, and many more.

    Together they founded The Granary, a contemporary art exhibition space next door to their home in Sharon, Conn.

    Bucksbaum was an active supporter of some of the top art institutions in the world. In addition to her nearly two decades of work with the Whitney, she was a trustee of the Aspen Institute, the Hirshhorn Museum and Sculpture Garden, the Museum of Modern Art (where she sat on the International Council), a member of the American friends of

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    Melva Bucksbaum (–)

    IN , Melva Bucksbaum curated “The Distaff Side” at the Granary, the private gallery and open art-storage space she shared with her husband, Ray Learsy. The exhibition’s title refers to the maternal line in a family and is appropriate for a show comprising only works by women artists. This exhibition—like her life in art—was about womanhood, and it served as a living will of sorts, a testimony to her belief in the power of contemporary art and the power of women in art. And the works included in the exhibition—by artists ranging from Louise Bourgeois, Agnes Martin, and Ana Mendieta, to Barbara Kruger, Kara Walker, and Laurie Simmons, as well as younger artists such as Dana Schutz, Isca Greenfield-Sanders, and Tauba Auerbach—exemplify this commitment.

    Initially, Melva considered titling the exhibition “The Women,” as curator and friend Joan Simon wrote in an essay for the catalogue. Indeed, I believe so

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