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").
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"). D100 à D120 : via what is meant
D100 : with a more marked religious feeling
from Alfred Manessier's paintings and Giacomo Manzu's sculptures, to Michel Journiac's "Masses" or Andreas Serrano's "Piss Christ" or the Renée Cox's "tableaux" ... D110 : with various spiritual or less marked religious influences
(from Barnett Newman to Mark Rothko, from Roman Opalka to Arnulf Rainer, ...). D115 : 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, ...). D120 : with an explicitly partial iconic involvement
("Social Realism" of Ben Shahn, Boris Taslitzky, André Fougeron, Renato Guttuso, Les Malassis, Groupe DDP, Léon Goulub, ...). D130 à D160 : 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., ...).D130 : by variations in execution
seriality, multiplication (Claude Viallat, Niele Toroni, "figurines" by Antony Gormley, ...), accumulation or compression (J. Chamberlain, Arman, César, ...), subtleties and variability of the material (Rober Ryman's "Whites"; dissolutions of "matter / life" by Roman Opalka or by On Kawara; Gilberto Zorio, ...). D140 : 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 D150 : because the work itself contains a really clear message
(Jenny Hölzer's illuminated messages, texts by Ben or On Kawara, ...). D160 : when the object is significant in itself
from Marcel Duchamp's "Fountain" to Manzoni box of "the artist's shit", or Jeff Koons' "vacuum cleaners", ... D165 à D190 : tending towards the worldly
D165 : "Relational Aesthetics" and the like
"installations" by Rirkrit Tiravanija, Thomas Hirschhorn, Mathieu Laurette, ...). D170 : by direct mass communication
banners, addresses, ... all socio-artistic "Actions" (A. Sorbelli, ...) like "Sociological Art" (Fred Forest's "demos", ...). D175 :
D180 : by essentialised images, illustrations, caricatures, posters, reportages, ...
(J. Heartfield, R. Haussmann, G. Grosz, F. Masereel, E. Pignon Ernest, ...). D190 : by decorations, illuminations, murals, or more broadly, outdoor creations in public places
More committed to a cause; Fernand Léger, D.A. Siqueiros, Diego Riveira, Orozco, Candido Portinari ...
- more decorative; D. Buren, etc., ... D200 : miscellaneous
various communications not fitting into any of 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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