Untitled [figure seated in chair with leg crossed] 1955 - 1967

Editor: This is Richard Diebenkorn's "Untitled [figure seated in chair with leg crossed]," a pencil drawing created sometime between 1955 and 1967. It's such a sparse and open composition, yet it feels complete. What strikes you most about this work? Curator: I see a quiet rebellion. Consider the socio-political context of mid-century America. Conformity was encouraged, particularly for women. The pose – relaxed, almost nonchalant – defies those expectations. It's a subtle assertion of self-possession in a world that often sought to dictate women's roles. How does that resonate with you? Editor: I hadn't thought about it that way. I was just thinking about the visual simplicity, but placing it in that time period definitely changes the perspective. Is it just the pose, or are there other elements that support this reading? Curator: It’s the deliberate lack of detail, the absence of a face, even. This is not about idealizing or objectifying the female form. It's about capturing a presence, an attitude. It’s also worth considering Diebenkorn's own position as a white male artist depicting a female subject. Whose gaze are we seeing this through, and what power dynamics are at play? Editor: That’s an interesting question. It makes me wonder about his intentions and how viewers might interpret the work differently depending on their own identities and experiences. Curator: Precisely. The beauty of art lies in its capacity to provoke these critical dialogues. By engaging with the historical and social underpinnings, we uncover layers of meaning and challenge assumptions. Editor: I agree. I’ll definitely look at figuration differently going forward, considering identity and social commentary along with technique and form.