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").A340 : Representative works Work with active figures
shapes are more active but not really expressionist (Alberto Giacometti, Jean Hélion , ...). A440 : Neo Figurative "Narrative Figurative Art"
Introduction of the Time element into the depiction of reality. Discontinuities and juxtapositions of different time spaces creating a story within the picture itself (Jacques Monory, Errò, Bernard Rancillac, David Salle,…) or in photomontage (Raoul Hausmann, Richard Hamilton, ...).
B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").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,...). B200 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with colours predominant
with their intrinsic or symbolic strength, (Monory's "blues", G.Fromanger's "reds") historical or social meaning etc., and their structuring, the colours here are the most important (Jules Olitsky, Peter Halley, ...).
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", ...).C120 : towards the intellectual side/ the essence of things inward looking work chiefly oriented towards: projective
dreams, poetry, lyricism, psychedelic experience … to "project" an inner world (Henri Michaux, Wols, ...). 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, ...). 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, ...).
PALAKARKINA Milena
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