Untitled [head of a woman] 1955 - 1967

Editor: Here we have Richard Diebenkorn's "Untitled [head of a woman]," created between 1955 and 1967, using charcoal on paper. It has such a raw and immediate feel, almost like a sketch. How would you approach understanding this piece? Curator: As a materialist, I see this work as a product of its making. Charcoal, a humble material, elevates this piece beyond mere portraiture. Think about the social context - mid-century America, Abstract Expressionism in full swing. The quick, expressive lines signal not just a likeness, but the artist's *labor*, the act of seeing and rendering, challenging traditional portraiture that valorized wealth or status. What do you notice about the pressure applied to the charcoal? Editor: Now that you mention it, the varying pressure does create different textures. It's not just about depicting a face, but about exploring the *materiality* of charcoal itself. Curator: Exactly! Diebenkorn is thinking about how the charcoal sits on the page, how it smudges, how it defines form with such immediacy. The "head of a woman" is less a specific person and more a vehicle to explore line, tone, and the inherent qualities of his materials. He seems less concerned with replicating a realistic likeness. Do you consider this "high art"? What's the difference here with drawing? Editor: Well, it makes you question the traditional hierarchies, doesn't it? Focusing on the process almost democratizes art making. Curator: Precisely! It challenges the consumption of art as simply an object of beauty and focuses our attention on the labor involved and the physical properties of the chosen materials. Considering this adds another layer to our understanding. Editor: That’s a great point. I’m rethinking the artwork based on the value of production instead of traditional qualities like technique. Curator: And perhaps the next time you approach art, you'll bring these principles with you.