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").
A510 : Forms of "Realism"
Differents ways of observing the realities of the world, from a point of view of: Photos and allied themes
as a record of reality, or a way of working on it (from H.C. Bresson to R. Mapplethorpe ou Bernd et Hilla Becher, ...). Also as materials belonging to aesthetical work (Anette Messager, Louis Jammes, Philippe Cazal, Pierre et Gilles, ...), or as part of a broader formal work (paintings and photos by Peter Klasen; drawings and photos by Jean Le Gac, ...).
A140 : Abstracts Geometrical constructs: Hard Edge, Minimalism, Neo-Minimalism
From "Concrete Art" to "Minimalist Art", all shapes or colors treated in a strictly orthogonal way, reducing sensitivity to a minimum (Joseph Albers, Mondrian, Gorin, Ad Reinhardt, "monochromes" by Rodtchenko, Frank Stella, Peter Halley, J. Armleder, R.M. Trockel, ... and in sculpture; Carl André, Sol Lewitt, Tony Cragg, ...).
B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").
B120 : Immateriality by photography (film or digital)
any "action", or representation, so long as it is made visible as a statement on any backing (cibachrome, perspex, paper, ...). Here, under B120; in fixed images (film or digital: J.M.Bustamante, Philippe Ramette, Cindy Scherman).
B190 : Materiality
in painting, but also with all other materials with the following possibilities: Structured lines / flat areas / Drawing
Strong lines bounding coloured areas, or the drawings contained within (R.Indiana, P. Stampfli, V. Adami, H. Télémaque, M. Sanejouand, Aki Kuroda,...).
Or importance of "line" in the drawing (Hans Bellmer, Pierre Klossowski, J.L.Guitard,...).
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, ...).
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, ...).