A curious map hangs in the second room of Heaven and Earth, the new Richard Long exhibit at the Tate Britain in London, which opened on June 3. From afar, the map of Dartmoor Forest in southwest England resembles strategic battle map, with four concentric circles drawn atop a specific area, perhaps suggesting a target. The map, however, exists as a simple record, a history, of a walk Richard Long took thirty-seven years ago. “A Walk of Four Hours and Four Circles, England, 1972,” the caption reads. Each of the circles on the map represents Long’s self-imposed paths for his walk and do not necessarily symbolize dominion.
A penny for the old guy. The original London Eye wasn't a Ferris wheel on the Thames but J.M.W. Turner, whose visual genius and all-encompassing vision engulfed everything in its path. Until the electroshock treatment applied by Francis Bacon, generations of British painters were subsumed by him. Paying obeisance to the great man is both a duty and a delight when visiting Tate Britain, and now the Turner galleries have been completely rehung for the first time since the mid-Nineties.
Occasionally I've thought that in my role as The Berkshire Review's 'London correspondent' I ought to focus sometimes on things that are more culturally British; unfortunately, I just don't think much of British culture generally, and with the Olympics now here, decimating arts funding and forcing friends and colleagues of mine out of their homes due to massive rent increases, I feel arguably less inclined than ever to take up the baton for this country.