PRINT October 1979


DURING THE FINAL SUMMER of the 1970s the issue of public art arose on two distinct but related occasions. The first, in Italy in July, was an international conferenza of art historians and critics who convened in the Umbrian hill town of Todi to consider “Monumental Sculpture Past and Present,” hosted jointly by the Region of Umbria, the Province of Perugia and the Commune of Todi. The participants included Germano Celant, Rainer Crone, Diane Kelder, Fred Licht, Wolfgang Lotz, Sheldon Nodelman, Marisa Volpi Orlandini, Marcelin Pleynet, Paolo Portoghesi, Barbara Rose, Jan van der Marck, and Kathleen Weil-Garris, along with many others, some mentioned later. The second event, a few weeks and many thousand miles west, was Seattle’s “Earthworks: Land Reclamation as Sculpture,” a project of major public dimensions that announced the betrothal of eight contemporary artists to eight environmental

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