Who Cares What's in a Name?

Sometimes naming a piece of visual art work that summarizes it's heart and soul, and at the same time isn't too boring, trite or "gives away" too much, can be difficult. There are many artists more schooled than myself on this subject, who have many different opinions. While I am an artist and find it an interesting topic, I would much prefer to guide you to some blogs that discuss the different philosophies rather than address them here.

Resources:
http://fineartamerica.com/blogs/the-importance-of-naming-your-artwork.html
http://drawsketch.about.com/cs/tipsandideas/a/namingdrawings.htm
http://www.picassomio.es/roller/picassomio/entry/the_fun_game_of_naming

I, however, would like to discuss naming visual art from a business and organizational stand point.

At Artwork Network we manage the content of our website. Meaning, our member artists send us all of their digital images and information and we do the work of loading it to the web. Over the years we have come across some naming issues that have made it extremely difficult to manage an individual's inventory of work, on the web and in person.

We have seen instances where a piece has name on a website, a different name on a separate site and a different name still written on the actual piece of art! This can cause problems not only for you, and those helping to manage your inventory, but also for a customer. There is nothing more frustrating than when, during a potential sale a client and representative cannot communicate clearly about a piece of art merely because of inconsistent naming practices.

When naming your artwork consider these points:

Stay consistent: Don't change the name on a whim. Name the piece and stick with it. If you change the name mid-stream it is very difficult to track, especially for other who are handling it. Write the same name on the piece and keep it the same across digital files, websites and other marketing material. It is helpful to keep a log of names and photos so that you remember the name.

Avoid using "Untitled". If you insist on using "Untitled" as a title, at the very least add another distinguishing character to it, like a number or roman numeral.

On the subject of using numbers in your title, be sure to keep a log of the numbers you are using in your series. It can be easy to use the same number twice and have two works with the same name. Again, this can cause much confusion to you, your representative and your customers!

Whatever titles you choose for your pieces, use these tips, and leave the headaches behind. You'll be glad you did... and so will others!

Radio Show: Annette Coleman

Two of Artwork Network's favorite artists, Annette Coleman and Jim Caldwell, have started a great Radio Show for artists. They cover topics such as keeping healthy studio habits, inspiration, and helpful tips of the industry.

Listen to last night's show, regarding "Art Habits and Keeping Studio Bound" with notable guests such as Mark Rossier, Steve W. Whitehead, and Artwork Network's own Amy Norton.

Eager to participate? Email Annette Coleman at annettecoleman@yahoo.com to get more details on how to call in on the live show or prerecord your thoughts.

Don't forget to sign up for show reminders on BlogTalkRadio.com/Annette-Coleman!

Upcoming Radio Shows:

3/18/2010-
Artists name names, what artists inspire their work
Artists talk about how other artists have inspired their work and why.
Can you see it in the work or is it a hidden influence?
9:30 PM
60 Minutes

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3/25/2010-
Venues for selling your art, what works for you?
A wide variety of artists from diverse backgrounds discuss the pros and cons of various art venues. Local, regional or national in scope what works for them.
Art Fairs, juried shows, coop galleries, galleries and open studios.
9:00 PM
60 Minutes

Story Behind the Art - Daniel Bahn

Daniel Bahn's series "Blue Stain"

Growing up in Colorado, I am reminded every day of the majestic beauty of the Rocky Mountains and the reason I, and many other people live here. Nature is a continuum of life and death, growth and decay but the past few years have seen an unprecedented decline of the pine forests. The little bug the size of a grain of rice that ravages these trees is not new but the depth and breadth of its appetite is. Wide swaths of forest turn from green to orange in a matter of months as one wonders what may lie ahead.

Is this nature's way of regeneration?
Is a catastrophic fire inevitable?
What will this habitat look like in 10 years? 50 years?
Is there anything to be done?

My current series draws from this sense of concern and records the organic forms and the detritus that is left over. Sick trees exhibit a ghostly blue stain that meanders through the growth rings - a stamp or death certificate for that tree. There is also a natural beauty in the stains and the crosscut forms of the trees. I am interested in the formal aesthetics of this environment. The trees had been pillars of strength, offering shelter and a diverse habitat - that has now changed.

Click here to view more of Daniel Bahn's artwork.

Creative Process: Network Tapestry

The ancient art of felt making has been attracting a lot of attention in recent years. Although the technique has been practiced for centuries, it is still very viable today. What's unique about my art is that I have moved beyond traditional craft uses of felt for clothing and structural/utilitarian applications. For me, felt making is all about fine art, specifically, contemporary wall tapestry, with a focus primarily on sensory pleasure.

One of my goals when creating tapestry is to give the viewer a sense of calm and relaxation. This is achieved by using organic raw materials, and working with the undulating waves of the tapestry. The result is a total transformation from the soft sheep's wool of my palette, into a durable, yet tactile finished piece.

Character, texture and appearance keep developing as I work with the fibers. It is not until the felting is finished do I know exactly what the finished tapestry will look like, once it's dried. When I start felting, the fibers are very fragile. I must use extreme caution so the layout that I spent many days composing does not get disturbed. As I continue working, the fibers become stronger and stronger and the different shapes and textures become evident. This transformation keeps me intrigued and challenged. My knowledge and experience with fiber helps me to stay on track for the finished piece.

Aside from this, color blending is also an important part of the process. Most of the time my inspiration comes from the raw colors in my mind's eye. After dyeing many hues, I pick several that, at first, look like they have nothing in common and perhaps can even be a bit jarring together. The challenge for me is to arrange them in a particular way throughout the tapestry where the colors end up complementing each other.

What is most satisfying to me is to watch the reaction of people when they first see my finished work. Even though we each may see elements of the piece in different ways, what's key is that the tapestry allows us to share in a very personal conversation. Knowing that my work generates a reaction inspires me to keep on searching for new textures and colors and ways to communicate.

By PJ Bergin
An Artwork Network Member Artist

303 Magazine - Holiday Window Display

Artwork Network was proud to participate in 303 Magazine's "I Heart Denver - Holiday Window Display Walk" during the month of December, 2009. The up-and-coming magazine has just released a video highlighting a few of the Art District's gems. Take a look - they saved the best for last!

Creative Process: Changing Perspective

One technique used to gain a better perspective for viewing a painting is to step back from the work. Artists tend to do this frequently during the creation of work, enabling us to visualize the piece within a greater context. Often, this technique uncovers clues that actually serve to direct the creative process.

As I paint, for example, I am only working at an arm's length away from the canvas. If it is a larger piece, more than say 12" in any direction, because of my close proximity to the surface, my attention is focused only on the passage I am working on. Yet, there is still a larger area of the canvas I am consequently ignoring from this intimate view. In order to find harmony within the painting, I therefore take a few steps back to verify the passage I am working on is meshing within the larger areas of the composition. Additionally, stepping back enables me to see more clearly how the painting as a whole fits together. If changes are needed, they tend to become more obvious when looking at the work in this manner. A good painting will should look good up close as well as from a distance. Ultimately, this frame of reference fosters a vantage point to unify a work, thereby making it stronger.

I believe this perspective is also essential to the experience of an art enthusiast. By stepping back, we open the door to see things from a broader point of view. So the next time you're looking at paintings, I would encourage you to take a few steps back and experience the difference. You just might see something you hadn't noticed before.

By Jared Steinberg
An Artwork Network Member Artist