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").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, ...). 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, ...).
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,...). B190 : Materiality
in painting, but also with all other materials with the following possibilities: Structured lines / flat areas / Drawing
Strong lines bounding coloured areas, or the drawings contained within (R.Indiana, P. Stampfli, V. Adami, H. Télémaque, M. Sanejouand, Aki Kuroda,...).
Or importance of "line" in the drawing (Hans Bellmer, Pierre Klossowski, J.L.Guitard,...).
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, ...), ... C190 : tending towards the corporeal / the senses the work as the result of an action gestural
the work as the result of a bodily movement, chiefly a hand movement: from Jackson Pollock's "Dripping" to Georges Mathieu's "Lyrical Abstraction", L. Fontana's "perforations" to the flayed figures of V. Vélickovic.
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, ...).
TUAL Sylvie
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