Untitled [profile of a model] c. 1957 - 1958

Curator: Here we have "Untitled [profile of a model]," an ink drawing by Richard Diebenkorn, likely created between 1957 and 1958. Editor: Striking, isn’t it? So spare, almost nonchalant, but deeply elegant. The heavy ink washes that form the hair and then that simple, searching line outlining the profile. There is a contemplative mood hanging over the image for me. Curator: Diebenkorn’s figuration here offers a contrast to his more famous abstract expressionist paintings, even though this was made around the same period as the beginning of his abstract period. His "Ocean Park" series, for example. There is something profoundly immediate about the stark line work on raw paper here, that is somewhat at odds with those layered abstractions. Editor: Agreed. I see it as a dialogue, even a tension, between representation and abstraction. I like how that simple line implies so much, a subtle gesture that still lets the model's character shine through. Do you think the anonymity contributes something here, because of the "untitled" part? Curator: Definitely, that open endedness of not knowing heightens the focus on form. We project onto this woman a certain sense of the 'every-person', and look at this drawing beyond portraiture. What also stands out for me is how this kind of sketch reflects Diebenkorn's place within the California art scene of the time. There was an increasing number of museum shows exploring the relationships of artists with models, highlighting the importance of labor in their paintings and works on paper. Editor: Right, but still I'm pulled back to that first impression, this being so incredibly raw and personal. It feels more like a private conversation with the artist, away from the galleries and museums. As if you’re seeing something truly vulnerable and revealing that transcends any academic discussion about Diebenkorn’s output at this stage in his career. Curator: Precisely. I think that’s the brilliance of this drawing. It occupies multiple spaces simultaneously, speaking both to the wider social context of its creation and to a far more intimate viewing experience. Editor: It really does invite you in, doesn’t it? I find myself drawn back to her gaze—it’s hard to pull myself away. Curator: Indeed. And a potent reminder of the different facets that make an artist’s practice. Thanks for exploring with me today.