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Classification approach for avisual  taxonomy
of Lemock general Artistic creation

 
by Francis Parent
critic and art historian


 
The explanatory text associated with each of 4 analyzed criteria (A: formalism, B: materiality, C: investment, D: communication) position the artist work in the art history by calling back possibly the artistic movements with which it is connected, or the names of the famous artists having expressed themself in a similar approach.

A : FORMALISME
The first criterion concerns the formalism of the work: what do we see when we look at a work, witch type of formalization first strikes the eye ?  Is it more abstract or more figurative, etc. etc. (from more "abstract" to more "realistic").

A170 : mixte (entre construit géométrique et non construit informel)
du "Field Painting" à "l'Expressionnisme Abstrait" ; accaparement de l'espace pictural dans l'accroissement de ses limites "all over" (Mark Rothko, Jackson Pollock, J.P. Riopelle, Joan Michell, Judith Reigl, …).

Mark Rothko White over red Jackson pollock.The key Joan Mitchell Trees Judit Reigl Center of Dominance

A220: avec signes formant des graphies avec sens
L'oeuvre globale reste abstraite mais comprend des signes des "Lettristes" (Isidore Isou, Maurice Lemaitre, …) aux "Conceptuels" (Joseph Kossuth, Roman Opalka, …); écriture entre formalisme et communication pure (Ben, Barbara Kruger, ...)
isidor Isou Ben écrire c`est peindre les mots Barbara Kruger

B : MATERIALITE
The second criterion concerns the materiality of what is given to see. Is it about pure concept, about game of materials, about object diverted etc. (classified of the "most immaterial" in "most real")? 
B240: materials or objects in "Assemblies", collages / takeoff, or "Installations"
objets signifiants ou in-signifiants (voire, rebus de la société) lorsqu'ils sont assemblés dans un nouvel esprit : 
- esthétisant, comme chez les "Nouveaux réalistes" (Arman, Spoerri, César, …) ; les "Affichistes" (villegle, Jiri Kolar, M. Rotella, R. Hains, ...) 
villeglé Jiri Kolar Rotella

C : INVESTISSEMENT CORPS / ESPRIT
The third criterion concerns " the investment " of the artist in his work. With what ratio Body / Spirit, does the artist put a lot into his work? From more "intellectual" (e.g. " the Conceptual art ") the "most physical" (e.g. the "Body art").
C100 : concept pur vision intellectuelle de l'art comme problème seulement philosophique linguistique, etc. (Joseph Kossuth, Lauwrence Weiner, Bernar Venet, Roman Opalka, ...).
joseph Kossuth Lauwence Weiner Bernard venet Roman Opalka

D : COMMUNICATION
The fourth criterion concerns the "communication" aspect: has the artist a real intention to communicatea message through his works? (Classified of the "most spiritualist" in "most societal").
D180 : plus vers le sociétal par des images "essentialisées", des illustrations, des caricatures, ... diffusées par des affiches, des reportages, ...
(J. Heartfield, R. Haussmann, F. Masereel, E. Pignon Ernest, ...).

Heartfield Haussman Masereel E Pignon Ernest
 

 

 
 
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