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.

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Love Letter to C

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

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?

 

Video Stills Overlay

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

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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.

Graduate Seminar 1__Summer In-Residence 2013

Language of Titles: 25 Titles For Each of 3 Artworks

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“What do you want the affect of your work to be?”__Jane Marsching

      Often times, a long-durational performance ends up not being what was originally intended. After spending hours in the Black Room in MassArt’s Tower Building working on the piece, the experience itself altered my perception about it. Rather than explaining what the performance video was supposed to be about, for my major studio critique I decided to simply asked for input on the editing style of the excerpts taken from the whole. Perhaps I played it safe by not explaining about it to my colleagues.  Honestly, though, at that time I had no idea of what it was about anymore.  A good place to myself in developing my direction, so I have been told.  There were only hints remaining of what I had wanted  the performance to become.  Perhaps that is alright.  I was faced with looking at the work in a new light, and with the task of adding in more elements. WIth so much footage, even the simplest editing could be used as an expressive tool with the power to alter content in myriad ways. Our most recent visiting artist suggested that not everything we do as graduate students needs to be important.  Working hard to take that statement to heart and mind.  I have made many, many mistakes on the path toward gaining understanding.  Still in-process at the time in consideration to the unexpected shift that significantly altered intention, I prepared to re-visit the work with the following notes:

Class Comments

  • Ritual/pattern/loop/leaving trails with subtle interruptions in a patterned behavior were mentioned
  • Consider camera angle changes or darker paint to show footprint path at any camera angle
  • Further break up repetition
  • In post, edit with muted color plus black and white, not one or the other
  • The pace and quick cuts show a passage of time
  • Some were eager to see what would happen next
  • The smallest event that altered the routine added to the passage of time
  • Leave in the accidents
  • Is it a performance video or a video documenting a performance?
  • Looks like I Jumped right in; maybe show less paint on the clothes at the start and let it build
  • Most everyone liked the accidental pixelation caused by faulty rendering; think about pushing that
  • No one mentioned “Input”, volume, or the old TV

Visiting Artist Comments:

  • The macrocosm is interesting enough, but the microcosm is even more interesting
  • Why are her hands white to begin with? Toward the end they are thickly coated, I would like to see this closer
  • Who is she…what is she…why is she?
  • A discussion about Christ and the ritualistic washing of feet came up in our conversation. It is fascinating to hear from others about what an artwork uniquely connotes.  It is just as fascinating to know that some of those perceptions were never intended in the making. What can I learn from that?
  • She reminds me of Whistler’s Mother. (We laughed.)
  • Be careful that my work does not emulate too closely the work of other artists. Good to note, but never my intention in the artifact from the performance.

Major Studio 1__Summer In-Residence 2013

Turning Point

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