There has been plentiful talk about town recently regarding the Obamas’ artistic choices for the White House. The First Family, thanks to one of the major perks of White House residency, has the opportunity to borrow works not currently on public display from the collections of myriad Washington art museums and galleries in order to reflect their artistic preferences within the mansion. As with Jacqueline Kennedy’s love for Cézanne and Hillary Rodham Clinton’s affinity for living amidst de Kooning and Kandinsky, the Obamas will leave a significant artistic legacy based upon their choices. Many argue that they also have the power to affect the market, boosting the sales and popularity of any artist they decide to showcase. Such was the situation when the Bushes acquired Jacob Lawrence’s The Builders in 2007, which significantly raised the prices of Lawrence works at subsequent auctions.
Working since before the inauguration with White House Curator William Allman and personal decorator Michael S. Smith, the Obamas have selected 45 artworks reflecting bold and eclectic tastes. Within the group lie modern and contemporary gems as well as classics by Mark Rothko, Ed Ruscha, Richard Diebenkorn, Louise Nevelson, Jasper Johns, Edgar Degas, Glenn Ligon, and Josef Albers, among others. The group demonstrates the strong American persona that the Obamas hoped to depict. In fact, all of the selected artists, with the exception of Degas, are American (though even Degas spent time as an expat in New Orleans, perhaps justifying his inclusion).
As with any good political inquiry, a bit of scandal has also emerged. The Obamas had selected two paintings by female African American expressionist Alma Thomas. One of said works, Watusi (Hard Edge) from 1963, is a highly resemblant homage to Henri Matisse’s L’Escargot, completed a decade earlier. The selection immediately brought criticism, especially from Obama-haters, who blustered that “even the artworks he selects are phony.” The painting was later returned to the Hirshorn Museum, with the given explanation that its dimensions were not compatible with the wall in Michelle’s East Wing office. The White House denies that the accusation of plagiary had any affect on the decision to return the painting. Ms. Thomas’ Sky Light is still affixed in the collection.
Ultimately, the Obamas have successfully furthered their much-hyped platform of “change” through the art collection. For the first time, the White House contains a plethora of contemporary works, the rooms and halls adorned with paintings and sculptures by a diverse artists’ set: Asian Americans, African Americans, females and immigrants galore. It’s refreshing to see a collection that is somewhat representative of our country’s residents and their ideals — as opposed to one dominated by antiquated portraiture of wealthy old white men.
Images, top to bottom: Berkeley, No. 52, by Richard Diebenkorn, 1955; The Builders, by Jacob Lawrence, 1947; Watusi (Hard Edge), by Alma Thomas, 1963; Alma Thomas in her studio, ca. 1968.
