Are there too many art works by Norman Rockwell at the White House? Probably, but last Friday US President Barack Obama took time out of his schedule to discuss the 1963 painting by Norman Rockwell, titled “The Problem We All Live With,” with the representatives of the Norman Rockwell Museum and the woman who is depicted as a six year old girl in the work. Inspired by a history-changing walk integrating William Frantz Public School in New Orleans on Nov. 14, 1960, the painting has become a popular icon of the civil rights era.
Ruby Bridges, the girl in the painting, met with Obama during the meeting. According to ABC News, Bridges once described the experience this way:
“Driving up I could see the crowd, but living in New Orleans, I actually thought it was Mardi Gras. There was a large crowd of people outside of the school. They were throwing things and shouting, and that sort of goes on in New Orleans at Mardi Gras” …
This isn’t the only Rockwell hanging in the White House, other works by Rockwell include a painting of the Statue of Liberty, which hangs in the same room. Painted for the July 6, 1946 cover of The Saturday Evening Post, Rockwell’s Statue of Liberty was donated to the White House Collection in 1994 by Hollywood director and major Rockwell fan Steven Spielberg.
Rockwell’s “The Problem We All Live With” will be on display at the White House until October 31.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.