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").A140 : Abstracts Geometrical constructs: Hard Edge, Minimalism, Neo-Minimalism
From "Concrete Art" to "Minimalist Art", all shapes or colors treated in a strictly orthogonal way, reducing sensitivity to a minimum (Joseph Albers, Mondrian, Gorin, Ad Reinhardt, "monochromes" by Rodtchenko, Frank Stella, Peter Halley, J. Armleder, R.M. Trockel, ... and in sculpture; Carl André, Sol Lewitt, Tony Cragg, ...). A405 : Individualist Art (Art Singulier) from "outsider" art to mediumistic and paranormal art
(Augustin Lesage, Joseph Crépin, …) even "asylum" art (Adolf Wölfli, Aloïse, ...) A530 : Miscellaneous
types of work which do not fit into the preceding categories
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. B260 : tautology
any object, or material, etc ... taken and presented alone and as such. "Ready Made"
objects themselves, alone (Marcel Duchamp's "Fountain" , ...), or placed in situations (Marcel Broodthaers' "Fictions", Toni Grand's "les bois", ...). 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., ...).
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, ...). C150 : between
Where the material and corporal necessities of existence confront the multiple questions about its "essence" (from Munch's "Scream" to the Installations of Thomas Hirschhorn, from Karrel Appel's "Scream" to Francis Bacon, ...).
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, ...). D160 : 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., ...). when the object is significant in itself
from Marcel Duchamp's "Fountain" to Manzoni box of "the artist's shit", or Jeff Koons' "vacuum cleaners", ... D165 : tending towards the worldly "Relational Aesthetics" and the like
"installations" by Rirkrit Tiravanija, Thomas Hirschhorn, Mathieu Laurette, ...).
TIHAY Daniel
www.danieltihay.fr |
