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A Study on Joseph P. Love's Early Art Criticism from the Perspective of Comparative Science of Arts

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2020, 59(), pp.33-69
  • DOI : 10.17527/JASA.59.0.02
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : December 15, 2019
  • Accepted : January 13, 2020
  • Published : February 28, 2020

Soon-Hong Park 1

1도쿄예술대학교

Accredited

ABSTRACT

This paper aims to reevaluate Jesuit Joseph P. Love's (1929-1992) early art criticism within the context of Japanese art history. Despite the image of being specialized in modern art, it would be much more proper to say that the characteristics of his art criticism lie in the comparative science of arts, a discipline that intends to investigate and reveal the historicity of the artworks produced in different cultural areas. For Love, an art critic who had a propensity to be against the subject and object dichotomy, the unification of the two was equal to that of the harmony achieved through mutual exchange between the art of East and West. The most important aspect of Love's understanding of art is “direct experience.” This means the viewer retraces the procedure of execution and is prompted by the work in order to share the same original experience as the artist in the making of his/her work. Thus, the artworks he highly appreciated are intact in form, preserving their quality inherent in reality. Although analysis of the artworks of East and West was his point of departure, his interest gradually moved on to abstract art, minimal art, and finally, Mono-ha. This shift is based on what he witnessed in New York during the mid-1960s; therefore, it can be said that the experience he had in the city led him to compare the various art movements of the time without regional and cultural boundaries.

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