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, …). A210 : Abstracts with signs
The work as a whole remains abstract but includes (or consists entirely of): signs forming writing: writing without meaning
the sign as an abstract shape placed in the composition of the pictorial space (R.Motherwell, Giuseppe Capogrossi, Christian Dotremont, Cy Twombly, ...).
B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").B130 : Materiality
in painting, but also with all other materials with the following possibilities: unstructured slight materiality
colours and material are more or less understated, diluted, evanescent, playing with their transparence (Zao Wou Ki, Olivier Debré, …). B150 : Materiality
in painting, but also with all other materials with the following possibilities: unstructured with matter predominant
by its thickness, its composition or the way they are built up, matter here has pride of place (J. Fautrier, J. Dubuffet, J.P. Riopelle, and objects by Bertrand Lavier, ...). 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,...).
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", ...).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, ...).
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, ...). D150 : 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., ...). because the work itself contains a really clear message
(Jenny Hölzer's illuminated messages, texts by Ben or On Kawara, ...).
GIBONI Christine
http://www.christine-giboni.com |
