When Christian Marclay’s The Clock goes on view at the Los Angeles County Museum of Art for a 24-hour screening on Sept. 22, there will be a special treat for visitors: free donuts and coffee. ForYourArt is hosting 24 Hour Donut City II: LACMA’s Choice, a pop-up donut shop at its space across the street from LACMA. And while this is the second iteration of the donut shop, this time around, ForYourArt will be stocking its shelves with the favorite picks from the staff at LACMA, including the selections of Franklin Sirmans, Christine Y. Kim and Michael Govan.
When he was 11, Roger Duffy had his first encounter with art. It was 1966 and he was thumbing through one of those big Time-Life picture books about America at his home in Oakmont, a town on the outskirts of Pittsburgh famous for its golf course of the same name. He came across a picture of a drawing by Diego Rivera hanging in the guest room at Fallingwater, Frank Lloyd Wright’s wooded retreat 60 miles away. Mr. Duffy asked his father what it was, and Duffy père responded laconically, “It’s art.”
Even today, as one of the most canny combiners of art and architecture, Mr. Duffy, in his reserved way, said he saw no great significance in this awakening. He had come to realize the power of a piece of art, as well as that of its surroundings, even though he did not know it at the time. “I thought of art as magic, and I still do,” he said. “But the two of them together, in that moment, I never really thought of that, now that you mention it. I was just focused on the picture in the picture.”
It would take a few decades for his appreciation of art to develop, and years more for him to incorporate it into his work as a partner at Skidmore Owings & Merrill, but his focus never really wavered. “He may not have known it, but I think this sensitive genius was always there inside him, just waiting to come out,” said Robert Whitman, the renowned multimedia artist and friend and collaborator of Mr. Duffy.
Jori Finkel checks in with LACMA director Michael Govan about news that the Friends of the High Line may try to build Jeff Koons’s estimated $25 million Train sculpture in New York, which he had hoped to bring to his Los Angeles museum. “Would trustees and donors be interested in two trains? … On one level, it would be kind of cool to have them coast to coast, and it could be less expensive,” Mr. Govan told Ms. Finkel. “But then there’s the issue of identity: Would you have two Eiffel Towers?” [LAT]
On the late Hilton Kramer’s stint at The Times. [NYT]
From yesterday, Michael H. Miller’s obituary for Kramer. [GalleristNY]