Untitled [seated nude with hands resting between her thighs] 1955 - 1967

Editor: So, we have here "Untitled [seated nude with hands resting between her thighs]" by Richard Diebenkorn, made sometime between 1955 and 1967. It's a pencil and graphite drawing and what strikes me is how simple it is. Almost like a sketch, yet it holds such a powerful presence. What can you tell us about this work? Curator: The power resides precisely in that seemingly simple materiality. Look closely – it’s graphite, likely mass-produced, readily available. It speaks to Diebenkorn's interest in stripping down the artistic process to its most fundamental elements, challenging the preciousness often associated with "high art." It pushes us to consider: who had access to these materials, and how does that accessibility shift the power dynamic in art creation? Editor: That's interesting! It’s almost like he’s focusing on the act of *making* itself. The materials dictate a certain…honesty? Curator: Exactly! And consider the timeframe. The post-war period saw increased industrialization and consumerism. Diebenkorn’s choice to work with such basic materials, almost defiantly un-monumental, becomes a subtle commentary on those very processes of production and consumption that defined the era. Do you see any hints of social realism influencing his choice of subject? Editor: Maybe in the very straightforward presentation of the body? There’s nothing idealized about it. Curator: Precisely. It's the labor of representation, the act of seeing and translating onto paper, made bare. No frills, just the fundamental act of mark-making. How do you feel this focus affects our understanding of the subject? Editor: It almost equalizes artist and model. It's about their shared presence, rather than elevating one over the other. Curator: I agree. This simple graphite pushes us to think critically about art's role within a wider, often-unequal system. It's a drawing rooted in materiality, challenging our preconceived notions of artistic value. Editor: I never thought of a pencil drawing holding so much cultural weight! That really changes my perception of Abstract Expressionism in general.