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").A360 : 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", ...). Mixed
The expression mixes techniques of Action painting with the use of matter (Emil Nolde, Asger Jorn, John Christoforou, O.Pelayo, Gérard Garouste, Georg Baselitz, Francesco Clemente, ...). A390 : Individualist Art (Art Singulier) Primitivism
Individualist work which refers to ancestral archetypes as "primary" or "essential" cultural forms (E. Nolde, Jean Michel Basquiat, Ouattara, Robert Tatin, J. Dubuffet, ...). A220 : Abstracts with signs
The work as a whole remains abstract but includes (or consists entirely of): signs forming writing: writing with meaning
the "Letterists" (Isidore Isou, Maurice Lemaitre, …) to the "Conceptuals" (Joseph Kossuth, Roman Opalka, …); writing ranging from the most formalist to pure communication (Ben, On Kawara, Barbara Kruger, ...).
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,...). B210 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with materials predominant
their thickness, composition or the way they are worked as structures (the way they are "built up") are here the most important aspect (Eugène Leroy, Bertrand Lavier, ...). B200 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with colours predominant
with their intrinsic or symbolic strength, (Monory's "blues", G.Fromanger's "reds") historical or social meaning etc., and their structuring, the colours here are the most important (Jules Olitsky, Peter Halley, ...).
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, ...). 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, ...), ...
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, ...).
OXO-YUTZ
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