Visual Arts Explorer - The Visual Arts Search Engine

VOLKMAR Ernst

SPENDER Chantal
http://www.chantal-spender.com

MARTIN Michel-André

TOMASINI Anto

MANO

SOUCHAUD Pierre

TURPIN André

You are an artist

Visual Arts Explorer is a revolutionary tool that allows art lovers, gallery owners and art commissioners to find with the magic of a click the artists with the creative expression and sensitivity they are looking for.

It also allows independent artists to create their own roster of art lovers/experts who showed interest in their work, and store their contact information for invitations to future exhibitions.

Vision Arts Explorer is the perfect liaison between the artist and his public.

If you are an artist and wish to know more about joining Visual Arts Explorer and setting up your own roster of gallery owners and collectors, please fill out and submit the fields below. There is no obligation on your part.

*Last, First Name :
Artist's name :
*Email address :

This information is collected for the sole purpose of sending you an email containing registration requirements to this website. If you have questions concerning the use of your personal information or wish to modify your contact details, please contact contact@active-leads.com

SPENDER Chantal
http://www.chantal-spender.com

Classification : A160-B200-B210-C130-C120-D110

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").

A160 : Abstracts Geometrical constructs: "All over", soft constructs
with a certain sensitivity in materials or colour, reintroduced into the "hard" construct, whether square-based or not (S. Poliakoff, Malevitch, J.P Riopelle, Maurice Estève, M.H. Veira Da Silva, Barnett Newman, James Bishop, ...).

B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").

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, ...).

B210 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with materials predominant
their thickness, composition or the way they are worked as structures (the way they are "built up") are here the most important aspect (Eugène Leroy, Bertrand Lavier, ...).

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", ...).

C130 : towards the intellectual side/ the essence of things inward looking work chiefly oriented towards: l'introspective
inner landscapes, emotions, feelings (Arpad Szenes, ...), serenity (Yves Klein's "Monochromes", ...), equilibrium ("mandalas" of Augustin Lesage or Adolf Wölfli, ...), memory (Boltenski "boxes", ...).

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, ...).

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").

D110 : via what is meant with various spiritual or less marked religious influences
(from Barnett Newman to Mark Rothko, from Roman Opalka to Arnulf Rainer, ...).