Head of a Man in Profile 

Editor: Here we have James Ensor’s pencil drawing, "Head of a Man in Profile." It feels very immediate and sketchy, like a fleeting thought captured on paper. What can you tell us about it? Curator: The speed of execution is indeed critical. Think of the social context in which such a sketch might arise. The availability of paper, the cost of pencils, the leisure time required - all reflect a specific economic reality. Was this commissioned work? Or was this Ensor's quick record of someone passing him in the street, produced with cheap materials because the image itself wasn't regarded as hugely significant? Editor: That’s a great point, how access and time affect production! I had not even considered those factors initially. So, is the “preciousness” of the artwork then, at least partially, a function of those economic conditions? Curator: Precisely. We often divorce art from the conditions of its creation. The rapid strokes, the bare minimum needed to convey form...These things could be considered efficient mark-making to record a likeness in a capitalist society with emphasis on function. Is this drawing "finished"? Why, or why not? Consider labor implied in this form of production versus art production with expensive oil paint and materials requiring apprentices in a studio for long periods. Editor: So the "unfinished" quality challenges conventional ideas of what art should be, it really makes you question the labor value assigned to such art. Curator: Absolutely! The accessibility of the materials shifts the focus from skill to perhaps the immediacy of expression. It's about questioning the established hierarchies within the art world itself. Editor: This makes me view even seemingly simple drawings so much differently, beyond just technique! Curator: Indeed, by paying attention to how the materials reflect historical dynamics and socioeconomic realities we gain a far deeper understanding of its message.