‘[This] would be better and setting more dramatic – you could potentially see it from Whitehaven, the Lake District and the Isle of Man,’ he said.
All the more reason for not carrying through this megalomaniacal idea
It hardly seems worth getting hot under the collar about. Schwitters's Merzbarn was removed in 1965 complete with the wall to which it was attached and installed at the Hatton Gallery in Newcastle University. What was left before the storm was the remnants of the old barn on a landscape gardener's land. That has some cultural and sentimental value, but no more.
Incidentally, the photographer Bob Smithies and I, both working for The Guardian, were the only journalists at the removal, which just about indicates the level of interest at the time. A prime mover in the project, Richard Hamilton, then teaching at Newcastle University, and, I think, his partner Rita Donagh, were there too. The Tate (well before Nicholas Serota's time) had been offered the Merzbarn free if it would pay he costs of removal. It took advice that it would be costly and too risky. Newcastle, with Hamilton a prime influence, decided otherwise and the removal was a magnificent feat.
I agree with your nicely-put drift Lauren, but I'm old enough (pre-war old) to remember the London skyline of Wren, pretty well as he left it give or take the odd gap left by the blitz - Michael McNay
Comment on: Piano wins planning for Shard's little sister
Smart piece of perspective, that. Floats? It squats there like an incubus in front of Guy's quad. Thanks for the "public realm landscaping",