Patrick Heron

ACTIVE AS A PAINTER FOR BETTER than sixty years, as a writer on art for more than fifty, and as a campaigner on art education and landscape conservation for thirty, Patrick Heron never lost his passion, his innocence, or his idealism. That was what made any encounter with Patrick, his paintings, or his words a life-enhancing experience. Whether he was working for the preservation of the independent art schools in Britain or against the removal of field boundaries in West Penwith, his early-modernist sense of the need to adopt a firm moral position, whether aesthetic or political, gave his many

print October 1995

Richard Flood talks with Nicholas Serota

IT WILL BE CALLED THE TATE GALLERY of Modern Art, and it is scheduled to open at the beginning of the new millennium. The gallery will be housed in an extraordinary postwar relic, an oil-fired power station on the South Bank of the Thames, directly across from St. Paul’s Cathedral. The building, designed by Sir Giles Gilbert Scott in 1947, was completed in 1963; by then its austere, rather Gothic-Deco facade was well out of architectural fashion. Perhaps because it was already esthetically obsolete at birth, the building was denied placement on the architectural registry. It is, nonetheless, a