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BOULIC-WANNEAU Brigitte
BERNARDI Anne-Marie
BECK Marie-Claude
CORDIER Francine
HACHELAF Dalila
RITSCHARD Patricia
CARLISKY Claudia
https://www.facebook.com/ClaudiaCarlisky





Classification : A240-B140-B150-B170-C120-C140-C160-D115-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").
A240 : Allusive inclusion of figures (or real objects ) in the abstract
More or less realistic figurative elements, more or less important but not going beyond details in a predominantly abstract work (Fernand Léger, Jan Voss, Antoni Tàpies, W. De Kooning, the "Combine Paintings" of R.Rauschenberg, ...).


B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
B140 : Materiality
in painting, but also with all other materials with the following possibilities: unstructured with colours predominant
by their intrinsic strength (Mondrian, ... ) or their historic and social symbolism (El Lissitzky, ...), etc., the colours are the most important thing here.
B150 : Materiality
in painting, but also with all other materials with the following possibilities: unstructured with matter predominant
by its thickness, its composition or the way they are built up, matter here has pride of place (J. Fautrier, J. Dubuffet, J.P. Riopelle, and objects by Bertrand Lavier, ...).
B170 : Materiality
in painting, but also with all other materials with the following possibilities: unstructured unstructured combinations
free combinations of colour, matter and volumes in a more unstructured fashion (Alberto Burri, Manolo Millares, ...).


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, ...).
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, ...).
C160 : tending towards the corporeal / the senses via expression 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, ...), ...


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, ...).
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, ...).