Untitled [head of a woman with dark hair] 1955 - 1967

Curator: This is an untitled piece, referred to as “Head of a Woman with Dark Hair,” by Richard Diebenkorn, created sometime between 1955 and 1967, using acrylic paint, and what appears to be charcoal or ink drawing techniques. The monochrome palette creates an interesting dynamic. What do you think? Editor: It’s strikingly simple. The washes of ink or paint, the stark white space. It almost feels unfinished, like a preliminary sketch. What stands out to you? Curator: Let's consider the materials themselves. The liquidity of the ink or paint, how it's been allowed to pool and bleed, isn't that fascinating? It speaks to the artist's process, his willingness to let the materials have a say. The paper support is integral; this isn't just about depicting a woman’s head but an investigation into how those materials interact on a surface. It is an exercise in consumption as it challenges conventional definitions of drawing versus painting and high versus low art. How would it be perceived differently if he had used oil paints? Editor: Interesting thought! With oils, you would lose that sense of immediacy, wouldn't you? I am intrigued by the expressive use of such commonplace materials. Curator: Exactly! This subverts expectations of “fine art”. Look at the visible traces of the process, that running ink around the figure. That element removes any pretense of academic representation and speaks to the action of its creation. Think about it – how does Diebenkorn use the constraints and affordances of these materials to inform the overall impact of the portrait? Editor: I never considered it that way before – the materials having a direct conversation with the image. Curator: It changes your perception of what makes an image finished, right? It's all about challenging established values within the art world through the artist's labor with modest materials. Editor: Definitely! I am looking at the drawing with a new appreciation. Thanks!