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").A410 : Individualist Art (Art Singulier) Naïve Art, Folk Art, Infantile Art
expression of cultural identities: from a region (traditional arts ), from a certain time (for example the infantile naive; Chaïbia, ...), from a genre ... including in "savant art": cf. the pseudo-infantile art of Fernando Botero, Niki de Saint Phalle, ... A350 : Representative works "Expressionist"
Outpouring of the turbulent or even violent inner world of an artist who, unlike with "Abstract Expressionism", does it with the many possible ways of depicting the Figure (from the original Expressionism to COBRA, from "Violent painting" to the "Néo-fauves", ...). Use of Matter and/or colours
The expression frees itself above all in the mass or build-up of the coloured materials used (Corneille, Karel Appel, Bengt Lindström, Miguel Barceló, ...).
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,...). B230 : Materiality
in painting, but also with all other materials with the following possibilities: Structured structured combinations
any combinations of lines, colours, matter or volumes of a more structured type (Michail Heizer, Anish Kapoor, Miguel Barceló, ...).
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", ...).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, ...). C140 : towards the intellectual side/ the essence of things inward looking work chiefly oriented towards: fantasmagoric
fantasies of all types, be they sexual, social, religious or any other type, so long as there is formal mastery (from Georgia O'Keeffe to Annette Messager, through Clovis Trouille, ...). C170 : tending towards the corporeal / the senses via expression with
- in a literal manner (Vladimir Velickovic, sculptures by Barry Flanagan, Thomas Grünfeld, Installations by Maurizio Cattelan or Janis Kounellis, Damien Hirst, William Wegman's photos, ...)
- or a symbolic manner (Hermann Nitsch's "sacrifices", David Nébréda's "soilings", ...), ...
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, ...).
GOURVIL Geneviève
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