For this project, we were asked to choose three of our artworks and write twenty-five different title possibilities for each piece. It was a challenging exercise, one that I think would be important to do for all of my art in the future. Parsing through words and phrases in relation to an artwork opens an artist’s mind to expanded viewpoints, increased personal perception, and viewer affect. We were also asked to choose one piece and describe why we chose that particular title.
Love Letter to C (Original Title)
• All He Could Think About • Resolution Never Comes Easy • Trying To Tell You Something • Settle Down • Blind Hope • Good Tools Make All the Difference• Living Pathway • Not Straight • Best Guidance • Hope’s Best Chance • This Is What Open Looks Like • Conversation Between a Man and His Mother • Summoning a Different Occurrence • Concerning Our Departure • 6 or 16, What Does It Matter? • Memory’s Failure • Linear Differences: A Non-Linear Point of View • Alternative Manner of Recollection • It Will All Be Clear • Paradox’s Ballad • Sightless Toward Inevitability • Growth Position • Learning Again What We Already Knew • Never Whispered Word • Everything and Nothing Until Something Changes
Video Still From Slow Memory and Charge of Affect (Original Title)
• Intrigue’s Unfolding • Discovering the Un-Discovered • Her Uncovering • From Out of the Seam • Unearthing a Line of Language • A Particular Patois • Slowness of Intentionality • Action Hole • A Tardy Precursor of Not Much Left • Embodiment of a Recollection • Three Knots • Remembering Georgia’s Hands (After Alfred Stieglitz) • Doing Her Part • Memory’s Measure • Spontaneous Un-Assemblage • Cooperation Between Five Parties • Attending to an End Result • What Was Left for You • Sensuality of a Secret • Entangled Threes • Gradually Un-Admitted • Ties Amongst Three Women • Magnitude of a Wavering Opening • Ship Speed: 141 Feet 9 Inches, Compressed (Based on 19th century knot increments measurement-space between knots equaled 47 feet 3 inches : time measured with a 30-second sand glass) • Are You in There Joseph Beuys?
Still From Untitled Video Performance
• Memory Pacing • Recollection’s Recompense • What You Get For Thinking • Extent of Coverage • Input Intervals • Intervening in the Region of Time • Between Us • Relational Linking • Syntactic Conveyance • Memory Transferal • I Cannot Keep You With Me • Unmarked Viewpoint • She Reminded Me of Whistler’s Mother • Responding to the Lives of Others • Anthem of the Repeatable • Broadcast of the Evasive • Slipperiness of Memorization • Evidence of a Faulty Design • Comprehension: Out of Order • Felt Refrain • Recall Capacity: Volume Level 50 • Imagining Your Life, Mother • Interference • Input: Impossibility of Knowing • Perception Dripped From White Fingertips
Thoughts About the Best Title for Love Letter to C
Even though a number of the other titles could function well for this piece, I still prefer the original title. I am very interested in the ideas brought about by this exercise with regard to a single artwork, and too, how multiple titles in one installation or a series of works can add to meaning and understanding overall. As we know, language is imperative between us as human beings, but sometimes hyperbole used as a peak of expression simply is not necessary, although it is a ton of amusement (hyperbole intended) in all seriousness. Certainly a title that incorporates a play of words that points to the layers of content in an artwork or that expounds on its connotations can be very useful and oftentimes vital. I, for one, lean in that direction of communication not only as a creative and expressive mechanism, but to keep myself engaged with what I am doing. Because Love Letter to C is a private message, or rather a summary message born from a life-long positive conversation that exists between my son and myself, I do not want the title to be different than it is. Let there be some mystery for the viewer, if that is the case. Taking a chance of sounding like I am copping out on the piece (which I am not), I want it to lend itself to the viewer’s unique experience and keep my own to myself outside of what is suggested through the visual narrative.