Untitled [torso of a standing female nude with arms behind] 1955 - 1967

Editor: Here we have Richard Diebenkorn's "Untitled [torso of a standing female nude with arms behind]," created sometime between 1955 and 1967. It's an ink drawing, incredibly minimalist. I'm struck by how much he conveys with so few lines, but also how unfinished it feels. What stands out to you? Curator: It’s interesting that you perceive it as unfinished. I see it as a statement on the public consumption of the female form during the mid-20th century. Consider the cultural moment: Abstract Expressionism was largely dominated by men, and female figures were often rendered as objects, fragmented and reduced. What do you notice about the lines themselves? Are they sensual or clinical? Editor: Hmm, they’re very direct, almost blunt. There's not a lot of soft contouring that you might expect. They do seem less about idealizing the body and more about… capturing it? Almost documenting. Curator: Precisely. Diebenkorn’s lines refuse to participate in the male gaze in a way that might have been considered revolutionary, perhaps even unmarketable at that time. How might a more romantic approach have been received, given that Abstract Expressionism was a largely male-dominated scene? Editor: I guess the vulnerability of that raw style might have been seen as weakness... or maybe even feminine? Sticking with those hard lines almost feels like he was trying to claim his place. Curator: Indeed, and the market often dictated such constraints, reinforcing gender roles. So, perhaps Diebenkorn made his choices knowingly, within the system. I wonder how he saw himself within these frameworks. Editor: That’s fascinating. I definitely see the drawing in a completely new light now. I hadn’t considered the social context at all. Curator: Exactly, thinking about those influences opens up our understanding. Every mark has the weight of art history, power structures and potential subversion behind it.