Wavetshirt - Unashamed 2023 shirt

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“This is artwork that should stop you in your tracks for a moment,” explains Adam Weinberg, who runs the Unashamed 2023 shirt but in fact I love this Whitney Museum, which loaned the Hopper barns to the Obamas. All the grace notes “are channeling the Obamas’ idea of hope, by not just looking back at the past but also embracing the present.” Suddenly, the room had new purpose, for walking tours and friends and staff Seder meals, and the first thing anyone saw was another stunner by Thomas—her rainbow-hued Resurrection, a bright eye watching over a room once dismissed as unworthy. Smith’s book lingers on one Norman Rockwell painting that hung for a while in the West Wing. It has one of the most racist epithets for a Black person scrawled on a wall above a little Black girl walking to school. The president invited Ruby Bridges, the school-integration pioneer–turned–activist, to come see it. She is the grown-up who was once the girl on her way to school in New Orleans, and the art became a mirror.

When the Unashamed 2023 shirt but in fact I love this Norman Rockwell Museum loaned Rockwell’s the problem we all live with (1964) to the white house, president obama invited civil rights icon ruby bridges, the young girl portrayed in the painting to view it. When the president chose barn red curtains, he also opened the symbolic barn doors to present “not himself as a person but America as a people,” as Smith puts it. Those Hopper barns, Weinberg says, are not only contemplative, and sort of modernist; they were also painted by a staunch Yankee Republican who rarely interrupted his summer idyll in Truro, except once: to make sure he could vote against Franklin Roosevelt. President Obama often tried to win over those who voted against him. Mrs. Obama similarly let everyone know that the White House was open to all, especially anyone who assumed that they were not welcome. Inside their home at the White House, through the First Family’s taste and tact, Americans were able to see—finally and completely—a house full of paintings that reflected who we all are. Black artists next to white peers, women expressing themselves with the same force as men, someone gone and unsung celebrated with someone just breaking through. On her sophomore album Hold the Girl, Rina Sawayama, the breakout British artist known for the mashup style of her 2020 debut—Y2K pop meets nu-metal meets ‘90s R&B—doubles down on her sonic signature. This time, she hones in on the sounds of early 2000s adult contemporary radio, updating them with stadium-sized drum fills and stomping club beats to tell the story of reparenting herself.

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