| 1. |
In IX Biennale internazionale di scultura Cittdi Carrara. Scultura Architettura Citted. Enrico Crispolti and Luca Massimo Barbero, Electa, Milano, 1998, p. 164. |
| 2. |
In IX Biennale internazionale…, cit. |
| 3. |
In Kazuto Kuetani, Galleria d’Arte Moderna, Centro AttivitVisive, Ferrara, 17 January − 21 February 1988. I expanded this article in Kazuto Kuetani, scultore del dialogo, in “La Gazetta delle Arti”, a. XXII, n.s. n. 3, Venezia, April 1990, pp. 6-9 (which also contains some articles by Kuetani himself). |
| 4. |
In IX Biennale internazionale…, cit. |
| 5. |
This concept was born in the sphere of literary criticism and then adopted in art criticism in the western culture, especially by Italian critics. “Poetics” is to be understood as “the reflections of artists and poets on their work, indicating the technical systems, operative norms, ethics and ideals involved” (Luciano Anceschi, Progetto di una sistematica dell’arte, Mursia, Milano, 1962, p. 51). Cf. Rosario Assunto, Le poetiche. Definizione e storia del concetto, in Enciclopedia Universale dell’Arte, Istituto per la Collaborazione Culturale, Venezia-Roma, 1963, Volume X, col. 670-679. I also discuss the concept in my works L’Informale. Storia e poetica. Volume I, parte 1. In Europa 1940-1951, Beniamino Carucci Editore, Assisi-Roma, 1971, pp. 24-31, and Come studiare l’arte contemporanea, Donzelli Editore, Roma, 1997. |
| 6. |
I valori del monumento spaziale, in “Gazzetta delle Arti”, cit., p. 9. |
| 7. |
In “Gazzetta delle Arti”, cit., p. 6. |
| 8. |
In “Gazzetta delle Arti”, cit., p. 8. |
| 9. |
In “Gazzetta delle Arti”, cit., p. 8. |
| 10. |
In “Gazzetta delle Arti”, cit., p. 8. |
| 11. |
In “Gazzetta delle Arti”, cit., p. 9. |
| 12. |
In “Gazzetta delle Arti”, cit., p. 9. |
| 13. |
I refer to the theoretical reflections and proposals contained in the book Urgenza nella cittMazzotta, Milano, 1972), which I wrote together with Somaini. I remember that when I was professor of art history at the Rome Academy of Fine Arts (and Kuetani was one of my students) I held a course on Somaini’s environmental sculptures using the same book. On Somaini’s work see Somaini, le grandi opere, ed. Enrico Crispolti and Luisa Somaini, Electa, Milano, 1997. |
| 14. |
Cf. Pietro Cascella, Opere 1946-1986, articles by Ludovico Quaroni, Roberto Sanesi, Enrico Crispolti, Edizioni L’Agrifoglio, Milano, 1986. |
| 15. |
Cf. Volterra 73. Sculture, ambientazioni, visualizzazioni, progettazione per l’alabastro, ed. Enrico Crispolti, Centro DI/edizioni, Firenze, 1974. |
| 16. |
Cf. the three volumes Campo del Sole. Un’architettura di sculture a Tuoro published by Mazzotta, Milano, respectively in 1986, 1989 and 1990 for the works of 1985, 1986 and 1988-89. |
| 17. |
On environmental art in the second half of the twentieth century see Earthworks and Beyond, Cross River Press, New York, 1989; Anne Hoorman, Land Art. Kunstprojekte zwischen Landschaft und o¨ffentlichen Raum, Reimer, Berlin, 1996. |
| 18. |
On the works mentioned here see the following: IX Biennale internazionale…, cit.; Franco Summa, L’Arte della Cittseclections and proposals by Oriol Bohigas, Francois Burkhardt, Enrico Crispolti, Pierre Restany, Regione Abruzzo, Pescara, 1998; Isamu Noguchi, a sculptor’s world, foreword by R. Buckminster Fuller, Thames and Hudson, London-New York, 1967; Isamu Noguchi Retrospective 1992, the National Museum of Modern Art, Tokyo, 14 March − 10 May 1992. |
| 19. |
In IX Biennale internazionale…, cit. |
