The Day I Met President Trump
Every presidency leaves behind its own chapter of American history, and each administration uses art and design to detail its story. I thought I knew what I was walking into: bold contemporary choices of furniture, golden drapes (which I argue are the gold drapes that adorned President Clinton's Oval Office by Little Rock's very own Khaki Hokersmith), and a choice rug in the Oval Office. Layer in the interesting Christmas decor that made headlines, there was an anticipated air of controversial artwork that mirrored the energy of his campaign.
I was wrong. I was soon met with art and White House resident staff from the Clinton administration still working within the walls of Trump's White House. People I was not expecting to see but have essential work to do regardless of who sits in the Oval.
"Sand Dunes at Sunset" by Henry Tanner (1855) White House Collection/White House Historical Association
On my first visit to the White House, a black curator guided me through some of the public spaces of the White House and took particular pride in showing me "Sand Dunes at Sunset" by Henry Ossawa Tanner. A tribute to an African American artist's triumph over racial adversities. Tanner's legacy spans his mother's daring escape via the Underground Railroad to his middle name mirroring the abolitionist John Brown. Its location? In the Green Room, a decision from President Clinton's time. The artwork felt as though it was silently celebrating the importance of black art. Yet, under the umbrella of the Trump administration, this echoed even louder against the stark contrasts of the administration's stance on racial matters.
While doing some research for this post. I needed to delve deeper into the art within the White House walls. Surprisingly, researching the art of the Trump administration was more complex than I expected. Perhaps this challenge can be attributed, in part, to the disbanding of the President's Committee on the Arts and the Humanities in 2017. This dissolution came when members resigned en masse, disheartened by then-President Donald Trump's handling of the deadly White nationalist rally in Charlottesville, Virginia. Despite the hurdles, I discovered compelling pieces that were curiously juxtaposed with Trump's tenure.
| "Resurrection" by Alma Thomas (1966) White House Collection/White House Historical Association |
These art pieces - and some a choice of First Lady Melania Trump, who is not shy about making subtle political gestures contrasting with her husband - form a narrative of resilience, recognition, and racial triumph.
"Resurrection," a colorful piece by Alma Thomas, chosen by the First Lady, holds the distinct honor of being the first painting by an African American woman to join the White House Collection. Unveiled in 2015 during Black History Month, in 2020, the artwork was showcased in the Vermeil Room as a part of the White House holiday decorations, fitting the theme "America the Beautiful,"
| "The Farm Landing" Matthew D’Agostino for the White House Historical Association |
Edward Mitchell Bannister's "The Farm Landing" (1892) stood as symbols of Black resilience and creativity in adversity. Meanwhile, Isamu Noguchi's "Floor Frame" in the White House Rose Garden stood as a testament to Asian-American resistance, especially considering Noguchi's own history with WWII internment camps and Trump's subsequent ambivalent references to these camps, and at the height of the hate towards the AAPI community during COVID.
What makes their stories resonate even louder is the backdrop against which they are set: a White House administration whose actions and rhetoric often diverged from the inclusive spirit of these masterpieces.
One of the more recent and notably intriguing additions during President Trump's term was "The Republican Club," painted by Missouri-based artist Andy Thomas. His painting went to the White House through California Congressman Darrell Issa. And, believe it or not, I saw Congressman Issa's painting on his office walls back in 2014. However, that's another blog.
A closer look at the portrait reveals Trump, positioned slightly off-center, after Lincoln, Nixon, Reagan, and Bush and a mysterious female figure in the backdrop, representative of the potential first female Republican president, as articulated by Thomas.
What's fascinating about this painting isn't just the composition but the more profound, unspoken narrative. As per the image, it resides in a room littered with official documents, a DirecTV remote, and, intriguingly, a jar of Starburst candy. Is this a preview of how Trump handles classified documents? Maybe a setting that shows the undeniable mess that frames the aspirations of this art piece? I'll let you decide.
It's intriguing to think about the role of the White House curator in these choices. How do they balance a President's personal preferences, the artwork's historical importance, and the prevailing political climate? It's a dance of diplomacy on canvas and in sculpture, melding the past and present individual tastes with national sentiment.
Now, imagine this as a backdrop to my second visit later that week for a reception hosted by then-President Trump, and select Cabinet members.
The U.S. Marine Band is playing "Pure Imagination," - which likened the entry to the Willy Wonka Chocolate Factory - there were two "Make America Great Again" baseball caps sprinkled around the room, us lot of history nerds & execs, and the newest Louis Vuitton clutches & Manolo Blahniks adorned the wives of men that were clearly not a part of the invited conference population. It took me about a half hour to acclimate to the room and witness President Trump's welcome - whose speech was a declaration of the legacy he wants to leave behind as history records his administration. To our surprise, he ended his speech with an invitation to tour Oval Office. Another opportunity I took full advantage of - and got a glimpse of the Cabinet Room.
But as I make my way to the State Dining Room to grab a snack, I run into a fellow Arkansan, the Librarian of Congress, Carla Hayden, and the Chief Communications Officer Roswell Encina. We recalled her previous visit to the Clinton Center, chatted about the reception, and took photos together. It was then that the intersections and connections made in this building were palpable and energizing.
Nate Thomas & Carla Hayden (2018)
For me, and perhaps for many others, wandering through the Trump White House felt like a journey through a diverse, rich, and sometimes contradictory art gallery. While the headlines and tweets painted one narrative, the art, staff, and guests silently but powerfully voiced another - a story of a country's multifaceted history, resilience, and ever-evolving identity.
Hyperlinked Sources:
Library of the United States House of Representatives. (2023). Trump White House Christmas Decorations.
The New York Times. (2020, November 20). Melania Trump Installs Noguchi Sculpture in the White House Rose Garden.
The Washington Post. (2018, October 15). All We Know About the White House Portrait of Trump Drinking Diet Coke With Abraham Lincoln.
Library of the United States House of Representatives. (2023). The 'Spirit of the American People' Painting by Henry Ossawa Tanner.
The Washington Post. (2021, February 28). Melania Trump's White House Decorating Choices Reflect Her Own Tastes.
Hilton, N. F. (2023, February 10). Trump's Republican Club painting and what it means. Medium.
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