Ocean Park #43 1971

Curator: We’re looking at Richard Diebenkorn’s "Ocean Park #43", a compelling piece crafted in 1971 using acrylic paint. Diebenkorn situates this work squarely within the Color Field painting movement. Editor: My first impression is...serenity. A washed-out, almost faded memory of something bright. It reminds me of that feeling when sunlight bleaches everything near the ocean. A quiet peace, even. Curator: It’s fascinating how Diebenkorn’s exploration of color is deeply tied to place, isn't it? His "Ocean Park" series is heavily influenced by the airy, geometric landscapes he encountered while living in the Ocean Park neighborhood of Santa Monica. Editor: Absolutely. It's as if he's distilled the essence of that coastal light. The lines, though precise, don't feel rigid. More like suggestions, echoes of buildings and sky meeting the horizon. See the way those pale blues are sitting next to the raw umber shade! Like looking out a sun-drenched window, the artist is able to control visual complexity. Curator: And that's what makes his work resonate so deeply within discussions surrounding modernism—that ability to reduce form to its bare essence while still suggesting immense depth and atmosphere. One way to analyze this painting is in the context of Post-Painterly Abstraction, pushing beyond gestural expression towards planes of pure color. His ability to find order—to make grids interesting— speaks to his dedication and study. Editor: There's a humility too. I like how Diebenkorn leaves visible traces of his process – faint lines and underpaintings. They're whispers, saying, "this didn’t just appear. I worked at this," or maybe, “everything here is transient". I can almost feel his touch, a sort of back and forth...deciding and revising! I have felt his journey here, this feels really nice. Curator: Agreed. The visible pentimento and subtle layering of the colour reveal Diebenkorn’s willingness to show that tension. This is particularly fascinating when framed against prevailing conversations on abstract expressionism. The painting has historical and theoretical ties. Editor: The painting feels both intimate and infinite. What starts as a simple exploration transforms the piece. Thank you. Curator: Indeed. Through Diebenkorn’s geometric planes, the intersection of colour and experience continues to spark dialogue.