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").A500 : Forms of "Realism"
Differents ways of observing the realities of the world, from a point of view of: "Brechtian"
"Distanciation" of figures with explicit socio-political convictions, with the aim of changing social or political realities (André Fougeron, Groupe DDP, Renato Guttuso, …), or at least "critical" of such realities (Peter Saul, Cindy Sherman, Equipo Cronica, B.Rancillac, ...). A470 : Forms of "Realism"
Differents ways of observing the realities of the world, from a point of view of: the solely Formal
between the "Neue sachlichkeit", "American scene" or "Nouvelle figuration", Reality as perceived by an artist whose subjectivity remains in abeyance (Christian Schad, Gérard Schlosser, Vincent Corpet, Gilles Aillaud, ...).
B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").B180 : Materiality
in painting, but also with all other materials with the following possibilities: mixed materiality: structured / unstructured
when a work is "structured" in its "lack of structure", and vice versa (repetition of forms, signs, matter ... Viallat, Toroni, Degottex, Hantaï,...). B280 : Miscellaneous
material manifestations not fitting in the preceding categories
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", ...).C130 : towards the intellectual side/ the essence of things inward looking work chiefly oriented towards: l'introspective
inner landscapes, emotions, feelings (Arpad Szenes, ...), serenity (Yves Klein's "Monochromes", ...), equilibrium ("mandalas" of Augustin Lesage or Adolf Wölfli, ...), memory (Boltenski "boxes", ...). C160 : tending towards the corporeal / the senses via expression with "humanity" (the passage from Life to Death)
- in a literal manner (John de Andrea, Duane Hanson, Itsvan Sandorfi, ...)
- or a symbolic manner (James Ensor, G. Rouault, F. Gruber, Zoran Music, Rebeca Stevenson, Jan Vercruysse, ...), ... C190 : tending towards the corporeal / the senses the work as the result of an action gestural
the work as the result of a bodily movement, chiefly a hand movement: from Jackson Pollock's "Dripping" to Georges Mathieu's "Lyrical Abstraction", L. Fontana's "perforations" to the flayed figures of V. Vélickovic.
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").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, ...). D115 : via what is meant in various narrations or symbolisms whatever they may be
allegorical, metaphorical (J. Beuys' "materials", ...), analytical (Mario Merz's "Fibonacci series", or those of Robert Filliou, ...), critical (from Henri Cueco to Hans Haacke or Guillaume Bijl, ...). 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
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