How Great Artists Title Their Work (And You Can Too)

Hello dear readers and subscribers. You've finished an artwork but now you're stuck contemplating whether or not you need to have a title for it. And if so, which title would it be? Does it need to be something intellectual, poetic, conceptual, or something rather simple, descriptive, so it is easier to understand the artwork? For some artists creating these titles can really be an afterthought, whereas with others it is where they found a lot of joy and a lot of power for their artworks. The truth is, when done right, titles can really enhance the depth of your work and also change the experience of it. However, simultaneously there are also a number of mistakes, common mistakes artists often make. So as a result, in this video we'll provide you all the information you need, including some case studies of real-life established artists and how they get the most out of their titles and how you can do it too. To title or not to title? That is the question. Do all artworks need a title? Certainly not. Untitled is a valid title and we see it all the time in the art world. For instance, the majority of Katarina Gross's abstract spray paintings on paper and canvas are untitled, or in this case, all metital. However, when choosing not to name a particular artwork, it makes sense to have a separate title or code for it. So the untitled work can be given a name, so you can refer to it specifically. A good example is John Armleider's installation entitled Untitled FS245 from 1990. The work is untitled, yet we still have a specific title to refer to it. Another great way to give your titleless works an individual name is simply by adding numbers to it. Think of the iconic Untitled Filmstill series by Cindy Sherman and arguably her most iconic work, Untitled Filmstill 21 from 1977. As a result, as these examples illustrate, it is safe to say that you do not need to have a title necessarily to be a successful artist or to have a good artwork. However, there is also no doubt that the title is an opportunity to do something creative and to distinguish yourself. This brings us to the next chapter, the power of the title. A good title can do many things with an artwork. It can create tension, ambiguity, it can suggest a narrative, something that is about to happen or just happened. It can subtly guide the interpretation of the viewer or simply how we experience it. A poetic or philosophical title may complicate the viewing experience, whereas a humorous or banal one can deflate it. The title affects the experience of the artwork. A great example is, for instance, Louise Bourgeois and her iconic monumental bronze and steel spiders. One might think they're a bit nightmarish or about fear and danger. However, when reading its title, Maman, it becomes clear that Bourgeois is hinting at something different here. She described the spider as an ode to her mother, who was a tapestry restorer, a profession that involves weaving and repairing, much like a spider's web. Bourgeois stated, the spider is an ode to my mother. She was my best friend. Like a spider, my mother was a weaver. Spiders are helpful and protective, just like my mother. Bourgeois sympathizes and admires her mother's strength. Yet, it is an ambiguous decision to use specifically these terrifying spiders, despite the powerful metaphor analogies between the spider and her mother. There must be more to it, and so there is. When being asked why she would fear someone she so clearly adored, the artist responds enigmatically, I shall never tire of representing her. My reasons belong exclusively to me, the treatment of fear. This cryptic remark hints at unresolved tensions, perhaps a sense of betrayal from childhood, such as when Bourgeois' mother allowed the families living au père, who was also her husband's mistress, to remain in their home for a decade and continue to endure her father's tyranny. Or how a title of just one simple word in combination with a particular image can open up a life of trauma, sorrow, fear, anger, resilience and solace. Or what about Maurizio Catalan's Ave Maria from 2007, which translates to Hail Mary, to title three disembodied uniformed arms extended from a wall, performing a Roman salute, historically associated with authoritarian regimes including the Roman Empire, but also Italian fascism and Nazi Germany. By doing so, Catalan repurposes this gesture to critique the historical and political subordination associated with such ideologies and dogmatic thinking in general, a critique that would not be possible if not for its title. Another great example can be found in the multidisciplinary practice of Sophie Naess, who transforms and repositions everyday objects with a sense of humor to uncover the hidden mechanisms of society and the art world, demanding meticulous preparation, wit and clever titles. For instance, when placing two coconuts in stockings and titling it If Nature Didn't, Warner's Will, the artist references and responds to a jolly but sexist 1960s advertisement for Warner's lingerie. However, the coconuts in stockings look more like a pair of testicles than a pair of breasts, cleverly returning the adman the favor. These are just three examples of how a title can unlock conceptual potential. These titles are not an afterthought, they are very much considered and do not make the mistake here of just seeing the title as something inferior and also do not use a title simply to explain something, to make your message clear to the viewer, because you don't want to underestimate the power of the imagination of the viewer and their ability to understand an artwork even when it's not all spelled out. If not, you're just killing the mystery, you're closing a conversation before it can happen. The recited examples are all marked by mystery, ambiguity, and the unspoken, subtle ways to kind of guide the interpretation or the thinking of the viewer. Leave room for the viewer to engage with the artwork on their own terms, to let their own interpretations emerge. It is also important to note that it is also very valuable to have a very consistent style of titling your works. For instance, some artists write long dramatic titles such as Damien Hirst's Physical Impossibility of Death in the Mind of Someone Living and For the Love of God, whereas others go for consistent deceivingly neutral descriptions like with titles such as The Pope or The Angel. Another quite fascinating example is the intuitive or poetic phrases drawn from unconscious associations with the abstract works by Friedrich Andersson, for example using titles like Soaring Prices, Soft Rock Ballads, or Celestial Convergence, Aubergine Whispers. Other consistent methods also include using quotes such as Dirk Braakman and his T.A.A.N.N.96 of 1996. This title offers no clear point of reference, but they function as personal quotes indicating the location with whom and the year the photograph was taken. Whereas this can be an intentional part of the artwork's concept, it can be quite difficult to connect with it or to remember it. The aforementioned quote, which I already forgotten because I just had to read it from my laptop, is not the way they will refer to the photograph. They will say something like The Carpet in the Dark Empty Space. Therefore, before using these quotes, please note that it does involve a certain distance and coldness to it. Furthermore, it's also possible to use the same title more than once. It is very common for artists to repeat a particular subject and therefore also its title, as is the case with a particular concept, which can result in a series of works. Think of Mircha Suciu with A Beauty Supreme 8 as the 8th work in which he takes on this concept and in Untitled 15, Earthly Delights series. The artwork is untitled, but the artist specifies in the title that it is part of his Earthly Delights series. And by doing so, this helps position the work in a broader context of the artist's oeuvre, allowing each piece to stand independently, but also allowing collectors to be able to see the different connections within the artist's oeuvre. To conclude, where should you place the title? Where should one be able to find it? First and foremost, on the artwork itself. The most professional way to do this is to do it on any side that is not visible for the viewer. With paintings, this will be on the back side of the canvas or the panel, and for sculptures or installation, it will be on the bottom of the object, the part that is standing on the floor, or if it's mounted on the wall, the part that is mounted against the wall. In some cases, most often with more conceptual artworks and especially with text art, it can be also seen on the front. For instance, on Kawara's date paintings or the enigmatic panels by Gideon Kiefer that are full of inscriptions, including the title often in a prominent place of the artwork. Furthermore, you also want to have the title written down in the Certificate of Authenticity, as is instructed in our Certificate of Authenticity template and our complete article and video on how to create them. And to conclude, if you have sold the artwork and you have given the Certificate of Authenticity to the collector, you are no longer in possession of the title and therefore it might get lost, especially when it enters a private collector that is rather elusive and is out of reach of the artist, especially if the artwork had been sold by one of your dealers. In this case, you really want to make sure that you have the official title in your overview document. It's kind of an inventory or a catalogue raisonné you have, as we have with one of our career tools, our inventory overview, to make sure that we hold on to the official title to ensure, of course, the legacy of the artwork. For more information about these very useful tools and also very important information on how to manage your art and your career professionally, I highly recommend having a look at our overview page Thank you so much for tuning in today. Feel free to watch our video on how to build a professional artist website, including a template to do it very swiftly and professionally next. Support us on Patreon and please consider subscribing to stay posted for more contemporary art. Bye!