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").A150 : Abstracts Geometrical constructs: Constructions not based on right angles from "Post Cubism" with shapes broken down into strict planar surfaces, but not necessarily right angled. (Robert Delaunay, Maurice Estève, Jean Dewasne, Herbin, ...).
B axis : MATERIALITY How does the materiality of what is shown come across? (on a scale from more "immaterial" to more "real").B250 : tautology any object, or material, etc ... taken and presented alone and as such. reworked objects in particular sculptors in wood, stone, etc. But also all objets trouvés, recycled and re-worked objects (in particular with Art Brut). B230 : Materiality in painting, but also with all other materials with the following possibilities: Structured structured combinations any combinations of lines, colours, matter or volumes of a more structured type (Michail Heizer, Anish Kapoor, Miguel Barceló, ...).
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", ...).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").D140 : 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., ...). exploration and variations on a theme or on a single resource (object, material, ...) to make it express the maximum (Cézanne's "Saintes Victoires", Andy Warhol's "Marylins" , Rutault's "methods", "bodies" by J. and D. Chapman, or by Katharina Fritsch, ...) or of a single resource (objects, materials, etc.: G. Titus Carmel's "bananas"; Miralda's "soldiers"; Damien Hirst's "cigarette butts" ...) in order to explore all its facets VALTAT Alain http://www.alainvaltat-sculpture.com |