Untitled [nude turning to the left in her chair] 1955 - 1967

Curator: This pencil drawing, simply titled "Untitled [nude turning to the left in her chair]" is by Richard Diebenkorn, created sometime between 1955 and 1967. It is a wonderful example of his figure work. Editor: It feels like a fleeting moment captured with such simple materials. There's a starkness to the light pencil lines that conveys an immediate intimacy. Curator: The symbolism of the chair interests me. It’s both throne and trap. The woman's pose, seemingly relaxed, hints at the cultural constraints and expectations placed upon the female form in the mid-20th century. Editor: I see your point about the symbolism, but I'm more interested in the physical act of its creation. Pencil on paper—what did the studio space look like? The pose clearly indicates the embodied labour, and the model herself—did Diebenkorn have a longer-term working relationship with them? I'd love to understand the materiality of their collaboration. Curator: What also strikes me is the artist's decision to omit specific facial features. This invites the viewer to project their own interpretations onto the subject, thus becoming participants in shaping the narrative. In a way, the universality of this 'everywoman' adds another layer to the emotional and psychological depth of this study. Editor: Interesting how we approach this. For me, the unfinished face suggests process more than any sort of idealisation. This to me feels like an ephemeral capture. A sketch, as part of a larger journey. Is this study for something larger, or is it more significant in it’s seeming lack of pretense? The image's raw quality emphasises how this image exists due to specific labor practices of the artist and model. Curator: Ultimately, "Untitled [nude turning to the left in her chair]" invites us to delve deeper into the interplay of representation, power, and identity. Editor: Yes, but the image itself invites us to look at who makes these meanings, and whose labor supports its production. Thank you.