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").A240 : Allusive inclusion of figures (or real objects ) in the abstract
More or less realistic figurative elements, more or less important but not going beyond details in a predominantly abstract work (Fernand Léger, Jan Voss, Antoni Tàpies, W. De Kooning, the "Combine Paintings" of R.Rauschenberg, ...). 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").B220 : Materiality
in painting, but also with all other materials with the following possibilities: Structured predominance of volumes
particularly in sculpture and assemblages. Specially for "Minimal Art" and its derivatives (Sol Le Witt, Tony Smith, …).
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", ...).C180 : tending towards the corporeal / the senses via expression with a frank sensuality, or even openly sexual
either literal (Courbet's "Origin of the world", Lucian Freud, John Kacere, P. Klossowki, David Salle, Gilbert and George, ...),
- symbolic (Paul Armand Gette, Andreas Serrano, ...),
- humorous (Gilles Barbier "cerveau", Boyd Webb "the globe" , ...),
- or "realist" (certain "Body-artists" such as Otto Muehl, Paul Mc Carthy's "installations" , Zoran Naskovski's videos, ...), ...
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, ...).
MARTINAND Gérald
http://www.gerald-martinand.com |
