The classification provides four or more codes placed on four axis (A - formalism, B - matťriality, 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").
A455 : Neo Figurative More or less allegorical representations ("Trans Avant Garde", "Bad Painting", ...)
J.G. Dokoupil, Julian Schnabel, David Salle, Reiner Fetting, Kenny Scharf, Sandro Chia, Francesco Clemente, Enzo Cucchi, Mimo Paladino, ...
A500 : Forms of "Realism"
Differents ways of observing the realities of the world, from a point of view of: "Brechtian"
"Distanciation" of figures with explicit socio-political convictions, with the aim of changing social or political realities (Andrť Fougeron, Groupe DDP, Renato Guttuso, Ö), or at least "critical" of such realities (Peter Saul, Cindy Sherman, Equipo Cronica, B.Rancillac, ...).
B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
B260 : tautology
any object, or material, etc ... taken and presented alone and as such. "Ready Made"
objects themselves, alone (Marcel Duchamp's "Fountain" , ...), or placed in situations (Marcel Broodthaers' "Fictions", Toni Grand's "les bois", ...).
B270 : "Mixed materials"
combinations of various materialities, found chiefly among young creators (for example with "Relational Aesthetic") late 20th century/early 21st, often going hand in hand with "Installations" (Fabrice Hybert, etc., etc., ...).
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", ...).
C110 : towards the intellectual side/ the essence of things conceptual levels 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, ...).
C140 : towards the intellectual side/ the essence of things inward looking work chiefly oriented towards: 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, ...).
C170 : tending towards the corporeal / the senses via expression with
- in a literal manner (Vladimir Velickovic, sculptures by Barry Flanagan, Thomas GrŁnfeld, Installations by Maurizio Cattelan or Janis Kounellis, Damien Hirst, William Wegman's photos, ...)
- or a symbolic manner (Hermann Nitsch's "sacrifices", David Nťbrťda's "soilings", ...), ...
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, ...).
D130 : 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., ...). by variations in execution
seriality, multiplication (Claude Viallat, Niele Toroni, "figurines" by Antony Gormley, ...), accumulation or compression (J. Chamberlain, Arman, Cťsar, ...), subtleties and variability of the material (Rober Ryman's "Whites"; dissolutions of "matter / life" by Roman Opalka or by On Kawara; Gilberto Zorio, ...).