Zelfportret: B-1-1, 14 januari Possibly 1942

Editor: So, here we have Cor van Teeseling's "Self-Portrait: B-1-1, 14 January," potentially from 1942. It's a delicate pencil drawing, really quite understated. What stands out to me is how tentatively the artist seems to approach his own image. What do you see here? Curator: I'm immediately drawn to the materiality of the piece, considering its potential date of creation. A simple pencil and paper self-portrait during the height of World War II speaks volumes about resource availability and the artist's immediate surroundings. Consider the rationing, the shortages... the work becomes less about idealization and more about the simple act of making and recording. What does it mean to represent oneself with such humble materials in such a time? Editor: That's fascinating. It reframes the work. It's not just a portrait anymore; it's a document of lived experience under specific material conditions. Curator: Exactly. How might access to better or different materials have changed the way van Teeseling conceived this artwork? Also, we might ask, given paper’s importance as a resource for propaganda and documentation, what political implications arise when the artist utilizes this medium for the self? Editor: I see what you mean. Considering that the drawing appears on paper stock that isn't pristine gives this piece a whole different feel. It makes the image much more intimate. I suppose I was initially looking at this self-portrait in a vacuum, without accounting for its historical and material constraints. Curator: It's a common initial reaction, but remembering the materiality shifts the artwork from simple representation toward considering social history and economics embedded within this creative act. The subtle act of creating itself resists the constraints of material reality. Editor: This gives me a lot to think about in terms of art as a reflection of very tangible realities. Thank you!