Untitled [seated female nude with right foot on stretcher of chair] 1955 - 1967

Editor: This is Richard Diebenkorn's "Untitled [seated female nude with right foot on stretcher of chair]", made with ink and pencil sometime between 1955 and 1967. There's something very stark about the figure, so exposed. What can you tell me about it? Curator: What I see here is a powerful commentary on the female form, particularly as viewed through a male gaze, something prevalent in art history. The raw, almost unfinished quality of the ink strokes could be interpreted as Diebenkorn challenging traditional representations of women. Consider how the facelessness impacts our understanding of identity here. What narratives does that open up? Editor: I hadn’t thought about it as a deliberate critique. I was mostly struck by the figure's vulnerability, almost like she's been stripped bare, physically and emotionally. Curator: Precisely! And we must consider that sense of vulnerability in relation to the social and political context of the time. Mid-century America, the rise of second-wave feminism... How might that have influenced Diebenkorn’s artistic choices or, indeed, our reception of the work now? Editor: So, seeing it as a product of its time gives the artwork another layer, especially in light of conversations around female representation? Curator: Absolutely. We can examine this piece through a feminist lens, questioning not just Diebenkorn’s intent but also the broader societal forces that shaped the creation and interpretation of such images. Think about who gets to look, who is being looked at, and what power dynamics are at play. Editor: I guess that perspective shifts it from being just a nude drawing into more of a…social statement, or at least an interesting question about perception. I have to say I hadn't seen it that way. Curator: Exactly! It's a continuous dialogue, this intersection between art, history, and our contemporary understanding of power and identity.