The Museum of Modern Art’s latest exhibition, Charles White: A Retrospective is almost perfect. The exhibition features the beautiful and arguably under-appreciated work of Charles White, a Chicago born artist from the early and mid 20th century. The survey includes over 100 Modern paintings, prints, and drawings that depict “politically vigilant art” and brings to life the “broad pattern of African-American life through three-quarters of the 20th century.” Although the gallery wonderfully walks guests through the development of White’s works, it should end with a forward thinking conclusion by including works from artists Kerry James Marshall and David Hammons, who were both inspired by Charles White. Particularly, Scout Master by Marshall should be featured at the end of the gallery because it directly represents what White’s artistic movement resulted in: confidence and accomplishment in the black community.
Marshall’s Scout Master is a medium scaled acrylic on paper on wood from 1996, 17 years after White’s death. It is currently located in the Jack Shainman gallery of NY. It would not be too difficult to obtain, and it would be a significant ending to the MOMA exhibition. For example, the man in Scout Master stands straight up confidently and looks the viewer directly in the eye. This along with the disproportionately large fist he’s making depict the power the black man feels. These traits were most likely inspired by some of White’s featured works such as Preacher, The Trenton Six, and Black Pope, which are images of dignity that is expressed through similar traits as Scout Master. Additionally notable is the halo in Scout Master because many of White’s paintings throughout the exhibition like Preacher included a halo around a black man. The halo is a powerful symbol in each of these paintings because it tells viewers that even black people can have a link and connection with god, and is one of the reasons why White became such an idol for black artists.
However, Marshall’s Scout Master is not just inspired and representative of White’s work, but also expresses the change and shift of focus in African-Americans’ idea of freedom due to artists like Charles White. The Scout Master figure has the American flag on his sleeve, suggesting that the black community should embrace this nation and fight for what they believe in. White’s 1944 Soldier on the other hand paints a black man with communist colors and a high rank, which shows viewers that in the mid-19th century communism was ideal for equality. This was furthered by other black artists back then as well including White’s close friend Paul Robeson. Additionally, the soldier is longing for a sense of freedom, unlike the scoutmaster who seems to be confident in his country. This is an example of change in culture that resulted from the black artistic movement inspired by artists like White.
An appropriate conclusion to the Charles White: a Retrospective exhibition would be to include paintings such as Marshall’s Scout Master that show the full transformation of African-American culture alongside White’s work and his influence. Art enthusiasts should be happy to see Charles White receiving recognition for his work and for inspiring hundreds of new African-American artists.
