A new classification approach, for a new general taxinomy of arts
by Francis Parent, historian and art critic.
SUMMARY
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").
B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
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", ...).
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").
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", ...). C100 à C140 : towards the intellectual side/ the essence of things
C100 à C110 : conceptual levels
C100 : pure concept
intellectual vision of art as a purely philosophical linguistic problem, etc. (Joseph Kossuth, Lauwrence Weiner, Bernar Venet, Roman Opalka, ...). C105 :
C110 : 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, ...). C120 à C140 : inward looking work chiefly oriented towards:
C120 : projective
dreams, poetry, lyricism, psychedelic experience … to "project" an inner world (Henri Michaux, Wols, ...). C130 : l'introspective
inner landscapes, emotions, feelings (Arpad Szenes, ...), serenity (Yves Klein's "Monochromes", ...), equilibrium ("mandalas" of Augustin Lesage or Adolf Wölfli, ...), memory (Boltenski "boxes", ...). C140 : 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, ...). 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, ...). C160 à C200 : tending towards the corporeal / the senses
C160 à C180 : via expression
C160 : 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, ...), ... C170 : with
- in a literal manner (Vladimir Velickovic, sculptures by Barry Flanagan, Thomas Grünfeld, Installations by Maurizio Cattelan or Janis Kounellis, Damien Hirst, William Wegman's photos, ...)
- or a symbolic manner (Hermann Nitsch's "sacrifices", David Nébréda's "soilings", ...), ... C180 : 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, ...), ... C190 à C200 : the work as the result of an action
C190 : 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. C200 : with the whole body/ on the body
"Viennese Actionism", "Body Art" (Gina Pane, Michel Journiac, ...), Yves Klein's "Happenings" with colored nudes, ... Urs Luthi's cross dressing, Pierre Pinoncelli, performances by Fabrice Hybert, Gilbert and George, J. Beuys, Vanessa Beecrost, and the "kisses" of Orlan, ... C210 : miscellaneous
ratio not fitting into the preceding categories
SUMMARY
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").
B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
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", ...).
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").
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