The title of an artwork is a significant, yet under-considered, part of contemporary art. Beyond providing an identity to the piece, the title serves as a reflection of the artist's vision, philosophy, or an aspect of the work they find particularly important. Naming can be a statement in itself, encapsulating the essence of the piece, challenging the viewer's perception, or even bridging the understanding gap between creator and viewer.
Many artists use titles as an opportunity to extend and expand their art. Jeff Koons, for example, often deploys titles as interpretative gateways. For example his series "Banality," which includes artworks titled "Ushering in Banality," and "Pink Panther." The title isn't just descriptive but actively challenges societal norms and judgments—forcing the viewer to make assumptions and connections between the artworks in the series and the overarching theme. Is Koons suggesting his artwork is Banal? Or that the pop culture tropes throughout the series signify society's banality?
Another example is the artist Jenny Holzer, known for her text-based art, who achieves a blend of title and art where one is indistinguishable from the other. Her pieces, like "Truisms," are statements that simultaneously challenge and engage, making the title an essential part of the viewer's experience. Holzer masterfully employs this technique, utilizing language as a tool to provoke introspection and incite change. Her artwork titled "Abuse of Power Comes as No Surprise" combines text and visual elements, confronting societal issues head-on. The title acts as a succinct yet poignant manifesto, framing the installation's biting commentary on power dynamics and social injustices. Holzer's approach underscores the potential of a title to serve as a potent catalyst for dialogue, transcending the artwork itself.
If you’ve browsed Peggy, you might have noticed a trend of paintings titled “Untitled.” Many painters use this anti-title as a title for various paintings. Paintings need a title for reference when selling or archiving artworks. But some artists think that their work speaks for itself and that titling it would be a distraction or unnecessary. Hence, the title “Untitled.” If numerous paintings in an artist’s oeuvre are "Untitled," they might add a descriptor at the end, such as a number or detail about the painting. Otherwise, you can distinguish between multiple untitled paintings by looking at the date, artist name, and medium. On Peggy, the digital fingerprint effortlessly tracks the provenance of all paintings. Even the “Untitled,” ones.
This practice of "untitled" pieces allows artists to elevate the significance of the visual experience over contextualization. The American artist Cy Twombly, for instance, often left his paintings "untitled." This approach is far from neglectful; it is an invitation for viewers to engage directly, devoid of any preconceived notion. The "untitled" title invites viewers to dive into the artwork without the preconceived notions often attached to a descriptive title. Artists employing this approach invite observers to derive their own interpretations and emotional responses, relinquishing the artist's guiding hand. Another example is the American artist Jean-Michel Basquiat, whose untitled works often feature vivid colors and abstract symbols, leaving the viewer to explore the depths of his creative chaos without a predetermined narrative. This practice of titling challenges the conventional role of titles as a directive, allowing the artwork to maintain a fluid and open-ended essence.
Titles can also be deeply rooted in identity, culture, or political statements. Yinka Shonibare, a British-Nigerian artist, doesn’t shy away from these hard-hitting themes. One of his famous works, "How to Blow Up Two Heads at Once (Gentlemen)," doesn’t just rely on its visual imagery but uses its provocative title to drive home its commentary on colonialism and power dynamics. On the surface, this piece showcases two figures, clad in Victorian attire but made from African textiles, each holding a gun to the other's head. The title accentuates the dualities present: colonial and colonized, oppressor and oppressed, European and African. Through this naming choice, Shonibare offers a piercing critique of the power dynamics of colonial history.
Next time you read the label at an art gallery, think about the ways that the title is influencing or expanding the artwork—whether through a playful nudge, a political statement, or the deliberate absence of a title. By diving into the nuances of naming, we not only appreciate the art but also the thoughts and philosophies behind it. The titling of artwork, or the deliberate choice to leave it "untitled," provides us with a lens through which we can more deeply connect with the artist's intent and the art's essence.