Former director at the White House Historical Association on the East Wing renovation – NPR

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Former director at the White House Historical Association on the East Wing renovation

October 26, 20258:51 AM ET, Heard on Weekend Edition Sunday

By Ayesha Rascoe 5-Minute Listen Transcript

See Transcript: https://www.npr.org/transcripts/nx-s1-5582403

NPR’s Ayesha Rascoe speaks with Leslie B. Jones, former Director of Historical Resources & Programming for the White House Historical Association, about the demolition of the White House East Wing.

AYESHA RASCOE, HOST:

The East Wing of the White House is no more. What started on Monday, with images of excavators and talk of renovation to accommodate President Trump’s promised ballroom, finished with the razing of an entire wing of the White House despite the president’s promise as recently as July that the event space, quote, “won’t interfere with the current building.”

Leslie Jones knows the White House. She’s now the chief curator of the Preservation Society of Newport but previously served as curator and director of historical resources and programming for the White House Historical Association. Leslie Jones, welcome to the program.

LESLIE JONES: Thank you for having me, Ayesha.

RASCOE: I don’t want us to talk past people who haven’t been in the White House as much as both of us have. That rounded portico that we all know from pictures – that’s not where the Oval Office is. That’s in the West Wing, which dates to Teddy Roosevelt’s first term. The East Wing was substantially enlarged during World War II. Tell us what the East Wing was and wasn’t from a preservationist’s perspective.

JONES: Well, I’m glad that you brought that up first because I think there is a misconception that needs to be cleared up. The East Colonnade – as it’s more formally referred to, which was fully destroyed – is actually separate from the East Wing. The East Wing was its own block of a building connected to the colonnade, and the East Colonnade actually dates back to 1801. Thomas Jefferson had that built on the addition on both the east and west sides of the White House after he moved in, you know, with James Hoban’s original central block design. So those sort of appendages coming off the east and west side of the house have precedent going back to 1801.

And in 1942, when Franklin Roosevelt adds on the actual East Wing building, it is to accommodate the more staff that was necessary as a part of wartime during World War II, but again, built off of that colonnade as a means of continuing that symmetry and balance that the White House had been subscribed in its earliest days, which is so symbolic for what the hopes of our founders were in our country.

RASCOE: So people were thinking about things like that. People were thinking about democracy when they were designing these additions.

JONES: Well, the house itself was designed to look like a domestic residence, not like the palace of a king or the compound of an autocrat or a dictator. It was meant to look like domestic architecture, even so far as to go – James Hoban tried to proportion the windows with the rest of the house to make it look smaller than it actually is. So that sort of approachability and commonality of the house and its design was important from the get-go.

Editor’s Note: Read the rest of the story, at the below link.

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Smithsonian artists and scholars respond to White House list of objectionable art : NPR

Culture Smithsonian artists and scholars respond to White House list of objectionable art

August 24, 20255:07 AM ET, Heard on Weekend Edition Sunday

By Mandalit del Barco, 5-Minute Listen Transcript

A painting by Rigoberto Gonzalez, titled Refugees Crossing the Border Wall into South Texas, was singled out by the White House in a list of artworks and exhibitions it found objectionable. Rigoberto A. González

The official White House newsletter has posted an article titled “President Trump Is Right About the Smithsonian.” It calls out some of the institution’s artwork, exhibitions, programs and online articles that focus on race, slavery, immigration and sexuality. That includes works at the Smithsonian’s National Museum of African American History and Culture, The National Portrait Gallery, and The National Museum of the American Latino.

Culture

White House calls for a ‘comprehensive review’ of eight Smithsonian museums

The list of objectionable content comes a week after White House officials sent a letter asking eight of the Smithsonian’s museums to submit their current and future plans for exhibitions, social media content and other material. The institution’s director, Lonnie Bunch, was told it had 120 days to comply for what the administration says will be a “comprehensive review” in order to bring the Smithsonian in line with Trump’s cultural directives ahead of the country’s 250th anniversary celebrations.

The administration has directed the museums to replace “divisive or ideologically driven language with unifying, historically accurate and constructive descriptions.”

NPR reached out to the White House asking for comment about the article highlighting the Smithsonian artists. They have not responded.

The list of artists and content seems to be drawn from art that was highlighted in a recent article in The Federalist. The conservative online magazine argued that the Smithsonian’s National Museum of American History, for example, was filled with “wall-to-wall, anti-American propaganda.”

The Smithsonian’s press office declined NPR’s offer to comment on the White House list. In June, it sent out a statement saying the institution is committed to remaining “free from political or partisan influence.”

While some of the artists and scholars NPR spoke to said they fear being further targeted, others said that being called out by the White House is a “badge of honor.” Some referenced other times, in the U.S. and around the world, when art provoked a strong political response; and some said they fear that Trump’s call for “anti-woke” art will have a chilling effect on artists, museums and galleries.

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