The classification provides four or more codes placed on four axis (A - formalism, B - matériality, C - involvement body/mind, D - communication). These codes are positionning the artist in the art history. A axis : FORMALISM When looking at the work, what type of formalisation first strikes the eye? Is it more abstract or more figurative, etc ? (on a scale from more "immaterial" to more "realist").A250 : Allusive a more inclusive, but lighter approach to the figurative the figure is hinted at by the entangled shapes or from various abstract material elements (Mondrian, Kandinsky, Klee, the "footballers" by N. de Staël, ...), or by formal or coloured allusions ("Abtract Landscape Art"; Jean Bazaine, ...).
B axis : MATERIALITY How does the materiality of what is shown come across? (on a scale from more "immaterial" to more "real").B130 : Materiality in painting, but also with all other materials with the following possibilities: unstructured slight materiality colours and material are more or less understated, diluted, evanescent, playing with their transparence (Zao Wou Ki, Olivier Debré, …).
C axis : INVOLVEMENT BODY/ MIND With what body:mind ratio does the artist enter into his work? Classify from the most "intellectual" (e.g."Concept Art"...) to the most "physical" (e.g. "Body Art", ...).C150 : between Where the material and corporal necessities of existence confront the multiple questions about its "essence" (from Munch's "Scream" to the Installations of Thomas Hirschhorn, from Karrel Appel's "Scream" to Francis Bacon, ...).
D axis : COMMUNICATION Does the artist have the deliberate intention to convey a message of any sort through his work? (classified from the most "mystical" to the most "worldly").D140 : via what is meaningful based on the idea that work on what symbolizes forms an intentional message in itself (for example: Daniel Dezeuze's "Stretchers", etc., etc., ...). exploration and variations on a theme or on a single resource (object, material, ...) to make it express the maximum (Cézanne's "Saintes Victoires", Andy Warhol's "Marylins" , Rutault's "methods", "bodies" by J. and D. Chapman, or by Katharina Fritsch, ...) or of a single resource (objects, materials, etc.: G. Titus Carmel's "bananas"; Miralda's "soldiers"; Damien Hirst's "cigarette butts" ...) in order to explore all its facets D110 : via what is meant with various spiritual or less marked religious influences (from Barnett Newman to Mark Rothko, from Roman Opalka to Arnulf Rainer, ...). CHARLES-NICOLAS Michèle mcn13.free.fr |