The Rigoberto Gonzalez’s artwork, named ‘Refugees Crossing the Border Wall into South Texas,’ has recently been admonished by the White House. This criticism came about in an article published in the official White House newsletter, titled ‘President Trump Is Right About the Smithsonian.’ This statement urges the Smithsonian institution to reconsider its current display of art pieces, exhibitions, and related content that center around themes of race, immigration, slavery, and sexuality. Such themes are prevalent in various Smithsonian collections housed in The National Museum of African American History and Culture, The National Museum of the American Latino, and The National Portrait Gallery.
The White House’s critique was presented a week subsequent to an official correspondence sent to eight museums under the Smithsonian’s umbrella. This included a request to review their ongoing and upcoming exhibition plans, digital content along with other related materials. The government has urged the museums to eliminate divisive or ideologically biased phrasing and replace them with content that is uniting, historically truthful, and productive in nature. The art pieces and content that have been referred to in the critique were drawn primarily from an article in The Federalist. The conservative online magazine argued that the Smithsonian’s National Museum of American History was filled with art that was anti-American in nature.
The White House newsletter particularly pointed out a 2022 artwork by Rigoberto Gonzalez, ‘Refugees Crossing the Border Wall into South Texas,’ which had been a finalist for The National Portrait Gallery. The painting is a poignant representation of an immigrant family descending a ladder leaned against the wall at the U.S.-Mexico border. Gonzalez’s artwork was called out in the White House newsletter for projecting the act of unlawful border crossing.
Gonzalez, however, rejects the claim that his artwork endorses illegal border crossings. According to him, his intent was to reflect real-life situations. His work currently finds a home in the Varmar Private Collection. Gonzalez, originally from Tijuana, now resides in Texas’s southern border region. His creations often depict his experiences and observations of this place.
Gonzalez compared the list of criticized artworks by the White House to the exhibitions of ‘degenerate art’ which were organized in 1930s Germany. He stated that the Nazis, similar to the current administration, would rally against modern artists whose work didn’t align with their ideologies. Gonzalez firmly believes that the Trump administration has a clear agenda that misinterprets his artistic expression.
Living under a fear of a sudden visit by Immigration and Customs Enforcement (ICE) is a reality for many immigrants residing in the U.S. legally. Regardless of this fear, Gonzalez remains resolute. He even expressed ideas of creating a painting based on the present ICE raids targeting immigrants.
Another artist named Patricia Cronin, based in Brooklyn, is known for her work ‘Memorial to a Marriage,’ a bronze sculpture residing in the National Portrait Gallery’s permanent collection. Her artwork, crafted in 2002, portrays two women, Cronin and her spouse, nestled in an embrace on a bed. According to Cronin, the scarcity of LGBT monuments in public spaces across the United States adds a level of subversion to her piece.
‘Memorial to a Marriage’ was conceived as a mode of poetic protest during a time when same-sex marriage was illegal. However, as same-sex marriage garnered legality, the sculpture took on a celebratory symbolism. Given the current societal climate, Cronin feels her work is beginning to regain its original status of poetic protest.
While her work has not yet been called out by the White House, she fears that it may be deemed objectionable in the coming days. Cronin believes this looming threat causes trepidation amongst many artists. She voices concern that these criticisms may inadvertently lead to self-censorship in museums and art galleries.
The Brooklyn college professor elaborates that the motive behind this censorship is two-fold, firstly to erase history and secondly to obliterate contemporary existence. She comments that if the display policies of public spaces and museums suppress the diversity and complexity of the American narrative, it will significantly impact artists working towards creating pieces reflecting their human experiences.
Cronin articulates her terror regarding the current prevailing political atmosphere, ‘I’m terrified. Absolutely.’ She points out how imperative it is for the artist community to raise their voices in times of adversity.
Artistic figures are not just creators but also mirrors of society. By demonstrating their unique perspectives on reality, artists offer people a new lens to understand the world around them. Therefore, it is crucial to ensure that artists retain their freedom to reflect real experiences without political or ideological censorship.
In a diverse society, one of the challenges can be acknowledging and accommodating different perspectives. Art can act as a bridging tool, allowing us to see from another’s point of view, without necessarily having to agree with it. Art does not always seek to unite; instead, it often seeks to challenge, to question, and to provoke thought.
This situation surrounding the Smithsonian and the current White House administration underlines the complex relationship between art, politics, and society. It proves that art is not merely a tool of aesthetics, but a direct measure of our collective focus and values. As a society progresses, it must ensure that the art community feels encouraged to reflect our evolving narratives without fearing ideological backlash.
Art is a narrative, a provocation, and a reflection. If artists like Gonzalez and Cronin feel threatened instead of encouraged, our culture loses an essential perspective. As art continues to mirror society, it is society’s responsibility to cultivate, not stifle, this form of expression.
The post The White House Questions Controversial Smithsonian Art appeared first on Real News Now.
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