Curatorial notes
Editor: So, this is an untitled oil painting from 1949 by Richard Diebenkorn. Looking at it, the warm earth tones are layered so thickly. What strikes me is how tactile it feels – almost like looking at a construction site. What are your initial thoughts? Curator: My interest is in the tangible properties of this work. Notice the process; the visible layers, the heavy impasto of the oil paint. Consider this materiality: how the paint itself, its texture and application, create the aesthetic experience. What implications can we draw by focusing on Diebenkorn’s labour here? Editor: I see what you mean. It's not just about depicting something, but also about *doing* something with the materials. What can we learn by looking closely at the underpainting here? Curator: Precisely. I argue that by analyzing Diebenkorn’s layering we recognize not just the finished ‘artwork,’ but a visual document of his studio practice itself: how decisions were made in real-time. A peek behind the stage, revealing the materiality of labor, that ultimately challenges traditional art historical interpretations of high versus low within abstract expressionism. Does this resonate with you? Editor: It does. Focusing on Diebenkorn's technique demystifies the work. It makes it feel like less of an untouchable object and more a product of physical effort. I think I see it differently now! Curator: Excellent. Shifting our focus to material and process, we are better situated to assess the total meaning, situated in social practice of labour.
