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").A520 : "Mixed media"
Combinations of different formalisms. More generally found among young creators at the end of the 20th/beginning 21st centuries, often hand in hand with "Installations" (Jason Rhodes, Rirkrit Tiravanija, ...).
B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").B240 : materials or objects in "assemblages", collages/decollages, or installations
meaningful or meaningless objects (or even offcasts of society) when they are assembled with a new spirit:
- to make something aesthetic, as with the "New realists" (Arman, Spoerri, César, …); the "Affichists" (Jiri Kolar, M. Rotella, R. Hains, ...)
- in parody as with the "Simulationnistes" (Haïm Steinbach, ...)
- in many and various other "Installations" as with well known artists (Christian Boltanski, Edward Kienholz, ...) and above all with many artists of the new generation. B275 : Works on what is real / natural
all other works using the "natural" as it stands, for example in Arte Povera ("salads" by G. Anselmo, Luciano Fabro, ... ), "Land art", or "Earth art" (colourings of nature by Jean Veram, Robert Smithson, Richard Long, ...).
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", ...).C110 : towards the intellectual side/ the essence of things conceptual levels specific questionings
from Bruce Naumann to Daniel Buren; the "Art System" questions its own foundations or its history (C.M Mariani, Wim Delvoye, Komar et Melamid, ...). C120 : towards the intellectual side/ the essence of things inward looking work chiefly oriented towards: projective
dreams, poetry, lyricism, psychedelic experience … to "project" an inner world (Henri Michaux, Wols, ...).
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").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, ...). D130 : 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., ...). by variations in execution
seriality, multiplication (Claude Viallat, Niele Toroni, "figurines" by Antony Gormley, ...), accumulation or compression (J. Chamberlain, Arman, César, ...), subtleties and variability of the material (Rober Ryman's "Whites"; dissolutions of "matter / life" by Roman Opalka or by On Kawara; Gilberto Zorio, ...).
DUGAUQUIER Charlotte-agnès
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