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“There are few instances when they are used for good.” President Obama and Smith developed a joshing rapport, like the Mickey Mouse Hat Seattle Mariners logo baseball 2023 shirt in addition I really love this hot and cold personalities in a buddy movie. Smith began to appreciate the president’s bent for modernism, and the president was awed by the White House’s neoclassical architecture, once he started living within its walls. With the First Lady leading their joint conversations and explaining their decisions to the public, the three brought together different and distinctly American ways of seeing the world, all under one roof. Smith’s new book reveals the White House’s private spaces, and reminds aficionados and everyday Americans that Smith and the Obamas were really onto something. The artwork they borrowed, mostly from federal museums, showed how diverse artists and styles and eras could hang together—and redefined who belonged in the White House.

In 2009, when the Mickey Mouse Hat Seattle Mariners logo baseball 2023 shirt in addition I really love this Obamas announced their list of loaned artworks, the name that drew gasps was Glenn Ligon’s. The contemporary-art agitator, who is African American and gay, repeated a stenciled sentence that gets denser and darker in his work Black Like Me #2: “All traces of the John Griffin I had been were wiped from existence.” Ligon is sampling John Howard Griffin, the white journalist and author who changed his skin pigment, elaborately, so he could pass as African American. The art world was electrified—the Obamas had jumped into a roiling debate and declared that the time had come for new images, new visionaries, new juxtapositions. “It’s not about the specific artists, but the broad strokes of the spaces,” Smith says now, years after the Obamas returned the art. He is proud, for example, of paintings by George Catlin, featuring colorful Native Americans riding at full gallop, not just for their historical value but because Mrs. Obama put them in the Treaty Room, across from an equine painting by Susan Rothenberg with a rose-colored background. It’s as if all the pretty horses, from the last century and the one before, got corralled together.

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