Alice 

Editor: This striking oil painting is called "Alice," by Charles Blackman. The intensity of the gaze really grabs me; there’s a vulnerability, but also almost an accusation there. What do you make of it? Curator: Considering Blackman's other works, particularly his schoolgirl series, it's interesting to analyze the social context of childhood and representation. He produced most of his notable works in the late 1950s and early 1960s when modern art was grappling with portraying societal figures and the figure of childhood, think about the cultural assumptions around innocence and experience. What does this stark portrayal suggest? Editor: Well, the big eyes do feel innocent in a way, but there’s something knowing in the expression that complicates it. Almost like a loss of innocence. Curator: Exactly! The stylization – those large eyes, the flattened perspective, and simplified forms – relates to broader movements interrogating portraiture’s traditional power dynamics. How does the image either support or undermine this power relationship between the artist, the subject, and ultimately, the viewer? Think about whose gaze is prioritized here. Editor: I guess it is difficult to see whose gaze we are meant to adopt in the artwork itself. It could easily be argued for all. I did not realise that he had painted schoolgirls before, it makes sense within that context. It’s definitely unsettling but fascinating. I'll have to research the way institutions displayed them, back when he initially showcased his works! Curator: And consider, even today, how these works provoke discussions around representation, agency, and the male gaze within art historical contexts. It’s a continuing conversation!