Untitled [seated woman leaning forward and turning her head] 1955 - 1967

Editor: This is an untitled drawing by Richard Diebenkorn, made sometime between 1955 and 1967. It appears to be pencil on paper, and depicts a seated woman. I'm struck by the vulnerability suggested by the simple lines and the subject's posture. What do you see in this piece? Curator: The sketch is undeniably intimate, likely made quickly, revealing the hand of the artist in a raw manner. Notice how Diebenkorn leaves traces of erasure and adjustments? It demystifies the artist’s touch, showing us the physical process of image-making. How does this contrast with notions of a polished finished artwork or ideas about artistic genius? Editor: It makes it feel more like I'm looking at the artist's working process rather than something presented as complete or untouchable. I wouldn't usually think about all the marks that have been rubbed out. Curator: Exactly! And what about the implications of depicting a woman in this vulnerable pose? Think about the history of portraiture. Who traditionally got to be portrayed, and how? Consider this alongside shifts in labor and production that were emerging post-World War II. Editor: So, it’s a commentary on representation, the democratization of art making through everyday materials, and shifting social roles perhaps? I see how considering the process changes how I see the meaning of the drawing. Curator: Precisely. It opens up questions about value – not just monetary but cultural. It's not about the flawless execution, but the labor and context embedded in the materiality of the artwork. Editor: This has totally shifted how I view seemingly simple drawings! Thinking about the materials and the labor makes it more than just an image. Curator: Indeed, every mark carries the weight of its making, and a cultural context that surrounds it.