Studies of heads 1979

Curator: Alright, here we have a drawing by Edwin Austin Abbey called "Studies of Heads," dating back to 1979. It’s a series of pencil sketches, all clustered together. What’s your first take? Editor: Well, immediately I feel a sense of urgency, almost a frantic energy. They’re not polished portraits, but quick impressions—fleeting moments captured. Like shadows struggling to solidify. Curator: Absolutely, it gives us an intimate glimpse into the artist’s process. Perhaps a warm-up, maybe studies for larger compositions. When viewed through a post-colonial lens, how do we consider the subjects? How do we interpret these disembodied heads floating within the artistic landscape? Editor: Interesting thought! It reminds me of Foucault’s ideas about power and the gaze. Are these figures empowered by being subjects of study, or objectified, reduced to mere forms on paper? Are their expressions passive, or is there a hint of resistance in those sketched lines? Curator: I see both. The face near the top, gazing almost directly at us, feels like it challenges the act of observation. The hat seems to hint at an historical or professional association. And, of course, Abbey’s known for his depictions of historical and literary subjects; is he considering the positionality of certain characters? I think these gestures give some identity to otherwise rather generic and loose sketches. Editor: That contextual element is so key. Considering Abbey’s wider oeuvre, you begin to wonder what identities he aimed to explore. In any case, the rough, unfinished quality resonates with current discussions around art as a process of enquiry. Curator: Yes. As an artist, the rawness inspires. It reminds us that beauty isn't always about flawless execution, but the expression of an idea, a feeling. And how, in even seemingly disparate ideas, threads of thought start to show through. Editor: Indeed. This "Study of Heads" challenges our modern definitions of both power and portraiture. It prompts reflection on our own contemporary gaze and our own potential subjectivities. Thank you, Edwin Austin Abbey. Curator: Thank you, indeed. Something for us all to consider further.