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").A170 : Abstracts mixed (between constructed and not constructed)
from "Field Painting" to "Abstract Expressionism"; taking over the pictorial space by pushing forward the limits of "all over" (Mark Rothko, Jackson Pollock, J.P Riopelle, Joan Michell, Judith Reigl, …). A190 : Abstracts not constructed / informal mixed (between "Matter informalist", "Tachism" and "Action Painting"
(Willem De Kooning, Clifford Still, Antoni Tapiès, Bengt Lindström, Riopelle, Olivier Debré, ...). A230 : Abstracts with signs
The work as a whole remains abstract but includes (or consists entirely of): where signs become symbols or icons
crossover from simple writing to meaningful symbols (Jean Fautrier, Alfred Manessier, Alechinsky, Ch. Dotremont, A.R. Penck, Wenda Gu, ...).
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,...). B270 : "Mixed materials"
combinations of various materialities, found chiefly among young creators (for example with "Relational Aesthetic") late 20th century/early 21st, often going hand in hand with "Installations" (Fabrice Hybert, etc., etc., ...). 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.
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").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, ...). 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, ...).
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