No Man Can Serve Two Masters: A Critique of Mastery in Charles White's Sound of Silence.
Sound of Silence is the final series of lithographs produced by Charles White, one of the most prodigious American artists of the twentieth century. It is but one example of how White's practice emphasizes artistic mastery in a way that paradoxically seeks to undo the legacies of slavery (i.e. maste...
| Publicado en: | Art Journal Vol. 84; no. 1; pp. 58 - 74 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Spring2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=185154085&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 185154085 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00043249 ARJ jtl: Art Journal issn: 00043249 maglogo: N pubinfo: dt: Spring2025 vid: 84 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 185154085 10.1080/00043249.2025.2485847 ppf: 58 ppct: 16 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.7MB tig: atl: No Man Can Serve Two Masters: A Critique of Mastery in Charles White's Sound of Silence. aug: au: Jones, Benjamin L. su: Art history Western civilization Twentieth century Slavery Artists sug: subj: Art history Western civilization Twentieth century Slavery Artists ab: Sound of Silence is the final series of lithographs produced by Charles White, one of the most prodigious American artists of the twentieth century. It is but one example of how White's practice emphasizes artistic mastery in a way that paradoxically seeks to undo the legacies of slavery (i.e. mastery over other people). Despite the importance of this work, scholarship on it has been sorely underdeveloped. A mere four publications have substantively historicized or theorized Sound of Silence and even these discuss the work only briefly. I attribute the lack of scholarship primarily to Sound of Silence being overshadowed by the artist's death as well as the sheer volume of art produced by this tireless maker, whose career touched five decades. In this article, I argue that Sound of Silence takes its title from a song by Simon and Garfunkel and that the song emblematizes this particular work while it also eulogizes White, and eerily locates him in art history. No source other than the title indicates the meaning of the lithographs; it is also not known why White chose this particular title. I take up "critical fabulation," a term borrowed from Saidiya Hartman, as both a methodology and theoretical investment in order to unpack my hypotheses. In the absence of concrete evidence, this method allows me to explore how White used some of the tools of the masters of Western Culture to critique the concept of mastery in Western Civilization. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Art Journal is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Art Journal holder: Taylor & Francis Ltd dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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