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Bidens Host Obamas At White House For Official Portrait Unveiling. Aired 1:30-2p ET
Aired September 07, 2022 - 13:30 ET
THIS IS A RUSH TRANSCRIPT. THIS COPY MAY NOT BE IN ITS FINAL FORM AND MAY BE UPDATED.
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ANA CABRERA, CNN HOST: We are standing by for a historic event here. President Biden, any moment now, set to host former President Barack Obama and former first lady, Michelle Obama, to unveil their official White House portraits.
Back with us is CNN senior White House correspondent, Phil Mattingly. Also joining us is CNN White House correspondent, Kate Bennett, and CNN contributor, Kate Andersen Brower. She's also written several books about the White House.
Phil, let me pop back to you for a moment.
Because, again, this event is about to start any moment. It marks the return of this tradition that was last celebrated 10 years ago when the Obamas were in the White House. They hosted the Bushes.
This one is unique, as you pointed out, because of the history of Obama and Biden's time in the White House together. Any idea on what their relationship is like right now?
PHIL MATTINGLY, CNN SENIOR WHITE HOUSE CORRESPONDENT: It's something I think aides to both probably get frustrated in terms of how much they're asked about it to some degree.
It's complex. And there are a couple of things that is are absolutely the case.
They are very close and have gone through more together than most people have with their friends over a course of time, on the political stage and world stage and also personally, given what President Biden went to with his son.
The two had a very close relationship and still do. They do talk. It's not super regularly. They're not talking weekend. Sometimes, even monthly at this point in time.
But I think that's less because they have a less than great relationship. It's more because there's a recognition, particularly on former President Obama's side of thing, that it's President Biden's time. It's his White House and presidency and administration.
I think similarly, for President Biden, it's his administration. It's his White House.
And while there's absolutely a mutual respect and they absolutely look at what they did with one another, I think now, with former President Obama looking at what President Biden is doing now with both respect and gratitude to some degree due to the relationship.
But the fact that they are two very different people individually and in two very different places in their lives is just as reflective about their relationship as any good or bad thing that may have happened over the course of the last is 15 years.
CABRERA: Kate Bennett, in the past, it's the immediate successor who does this portrait unveiling and maybe hosts the past president and first lady at the White House. But that didn't happen in the last administration.
Do we know about the timing here, why today, why now?
KATE BENNETT, CNN WHITE HOUSE CORRESPONDENT: Well, there's no hard and fast rule that this needs to happen at a certain time. It's just sort of has happened that way most of the time.
It does take a while for these portraits to be painted. Sometimes it can be many, many months. We did have the pandemic.
But I think ultimately and essentially, Donald Trump, as we know, his bandwidth for humor, especially about himself or self-deprecating humor, which most of these are, sort of polite roast, if you will, of the predecessor and successor, really wasn't into that.
I think there was such a contentious campaign, there was so much history between the two men, between the Obamas and the Trumps, that an invitation never came to fruition. The portraits were not unveiled traditional as they tend to happen by Donald Trump of the Obamas.
There could be a lot of different factors involved there. No one has ever said on the record this is why they weren't invited. There could have been back-channel discussions.
But what we do know is that the portraits may have been finished during the pandemic, and that might have had something to do with it as well.
But again, these light-hearted human moments, these iconic traditions of American democracy, these portraits that hang in the White House for everyone to see of presidents and first ladies is part of the American paradigm.
And certainly, not doing it as President Donald Trump for former President Barack Obama, people remember that.
I think getting back on track in terms of timing and schedule, unveiling these portraits now today, no matter if it's been 10 years or not, is certainly a back-on-track moment for these social events with some levity.
CABRERA: Kate Andersen Brower, tell us more about this tradition, when it started and the significance.
KATE ANDERSEN BROWER, CNN CONTRIBUTOR: Well, it's actually Jackie Kennedy who started the tradition. And the White House Historical Association actually pays for the portraits.
[13:35:01]
The presidents and first ladies have input as to which artists they want to paint them, how they want to be depicted. And as Kate and Phil said, it's a really important American tradition.
I actually interviewed Donald Trump when he was president about whether or not he would go to President Obama's library opening, and he said, why would he invite me? You know, probably not, why would he invite me.
Which I think speaks a lot to this kind of unparalleled level of divisiveness we have in our politics now. So it's really important to see.
I know when the Obamas invited George W. Bush and Laura Bush to the White House, Michelle Obama went to her East Wing staff and said, listen, this is very important. We want to celebrate them.
And they actually set up a catered lunch in the Red Room, this very elegant room in the White House for the Bushes and 14 of the Bush family members to sit, have lunch together in their former home.
This is where they lived, in the Bushes' case and Obamas' case, eight years. They got to see the butlers who they grew to love and the housekeepers. And it's emotional.
So I think there's the levity that we talk about. But there's also the sense of you're visiting the people you lived with for a long time. It's an emotional moment, absolutely.
CABRERA: As we await the great unveiling, Phil, I want to know, a lot of our viewers probably remember that there were other Obama portraits unveiled previously. Those were for the Smithsonian. These are different.
We don't know at this point what they look like, right, or do you have a little heads up and can give us a little preview of what we're about to see?
MATTINGLY: I feel like I'm going to totally blow myself up here because, if anybody knows what these portraits look like, it's likely the two Kates that I'm currently on with right now. I do not.
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MATTINGLY: It's a closely guarded secret because I think they understand the importance of the moment, as both of my colleagues have laid out here, not just the tradition, but I think kind of the grandeur of the idea to some degree.
These hang on the wall. If you walk through the White House, these are hanging on the walls.
And I can speak for myself here, when you're walking through and see the portrait of John F. Kennedy, you kind of pause and take a breath because you realize what this means and what it represents. That's what these represent, writ large, for the country, for this White House.
I have not personally seen them. Again, I would defer to my colleagues on this.
I think for the vast majority of people, except for the artists and Obamas and probably some of the people in the building behind me, the first time you're going to see it is when they pull the drape up and get a look.
CABRERA: I was thinking about this quote from the president of the White House Historical Association who said, "I think in the mind's eye, most Americans, we see presidential portraits as these very traditional 19th century looking and feeling portraits, but art and taste in art evolves and changes."
So let that be sort of the scene setter for what we could see here in the next few moments.
I want to ask you, Kate Andersen Brower, about just all the variety we have seen when it comes to these portraits in the past. We have been showing sort of on loop here a lot of the different presidential portraits.
You know, you see you have John F. Kennedy looking down, his arms are crossed. You have John Quincy Adams, who has a book in his hand. His other arm is sort of outstretched. Abraham Lincoln with his hand up to his chin with this pensive look.
Some portraits we're seeing involve presidents and you can see their full body. Some are just chest up. Some are looking directly at the artist. Others are looking off into the distance.
How does that come to be? Who decides the vision for these portraits?
ANDERSEN BROWER: Well, it's the president and the first lady. They actually have a big say in this.
Phil is very nice to think we might have some insight. Kate Bennett might. But I don't know either.
I think, given what the Obamas chose with their Smithsonian portraits, which I think people get confused with the presidential portraits that hang in the White House, Michelle Obama chose Amy Cheryl, a very emerging black artist.
And then you had President Obama choose another black artist who was actually very well established.
Both of whom use a lot of color. Anybody who's been to the Smithsonian and the National Portrait Gallery knows how incredible those paintings are. They're a tourist destination for people who come to D.C.
So I would be surprised if the Obamas didn't choose an emerging artist. They could choose two different artists. The Bushes chose the same. Laura Bush and George W. Bush chose the same artist.
But I would be surprised if it wasn't -- well, I mean, I would think it might be somebody who could speak to them, a person of color perhaps, somebody they identify with, somebody they want to support because this is a huge opportunity.
[13:40:09]
And also, we know Michelle Obama put the Alma Thomas painting in the old family dining room in the White House, as the first black woman to have her art exhibited in the White House collection. So it's a very significant moment. And they have a lot of power.
And I think that the Obamas, more than any other president and first lady, realize that they're cultural icons as the first black First Family, they can really help raise up other voices. And they want people to walk into the White House and see people who look like them, you know.
CABRERA: And, Kate Bennett, let me give you the last word here because we heard from Phil he has no clue what's to come. Kate Anderson Brower, no special insight.
Do you have any special insight as we give our viewers a live look at this special event about to begin? Ad you can see the room is very full of the who's who of the past administration and some of the current and family members as well as former cabinet member and advisers and so forth.
BENNETT: You know, I'll say, Kate's, I think, right on track about having maybe different artists and different vibes between the two portraits of Barack Obama and Michelle Obama.
I think people also want to know, is Michelle Obama going to wear something spectacular? She's really known for her style and fashion and bringing unknown designers to the forefront. I think there's a question there.
But I would anticipate the aesthetics of the portraits to be different. This is a more modern time and a more modern era.
And I don't think we should underestimate the significant of having two African-American president and first lady hanging on the walls of the White House and just how important that is.
But I cannot reveal the -- any more specifics. But I will say, you know, a little birdie told me they're pretty spectacular portraits. And I think they will, again, have a different vibe between his and hers for sure.
CABRERA: Interesting. Interesting. I think back to when the Obamas were in the White House and they really chose to highlight contemporary modern artists in the art they close to decorate the White House with when they were there.
We'll take a quick break. Everybody, please stand by.
Again, as soon as this event happens, gets underway, we will take you there. Don't go anywhere.
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[13:47:28]
CABRERA: Welcome back. Let's go live now to the East Room of the White House. And see all the cameras staged, awaiting the arrival of the former president and first lady, the Obamas, Barack Obama and Michelle Obama.
We already saw Marian Robinson arrive during the break. She arrived into this room. Of course, Marian Robinson is the mother of Michelle Obama, who spent time at the White House, lived in the residence with the first family during that time.
Let's listen in.
JOHN ROGERS, CHAIRMAN, WHITE HOUSE HISTORICAL ASSOCIATION: -- accompanied by the 44th president of the United States, Barack Obama and Mrs. Michelle Obama.
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ROGERS: Mr. President, Dr. Biden, President Obama, Mrs. Obama, ladies and gentlemen, welcome to this ceremony.
I'm John Rogers, the chairman of the White House Historical Association.
And on behalf of the women and men of the association, I'm thrilled to celebrate with all of you the presentation of two magnificent American portraits today to honor and commemorate the indelible legacy of our 44th president and first lady.
[13:50:08]
Mrs. Obama, President Obama, it is a privilege to be able to carry forward this time-honored tradition of unveiling the official portrait and welcome them to the White House to be forever accessible and viewed by the public on these historic walls.
Since its founding in 1961 by first lady, Jacqueline Kennedy, the White House Historical Association has been of service and our clear privilege to be able to acquire official portraits of those who previously were missing from the White House collection and to commission all of the portraits on record of each president and first lady since our founding.
Surviving the modern era of photography and film and technology, few mediums can transport us with such immediacy and intimacy than the American portrait.
Capturing at once the power, the restraint, the courage and the beauty of human spirit, the portraits of our first families stand apart, each a painstaking exploration of a singular person, a human life conveyed in still, otherwise ever in motion and fulfilling the obligations to their oath.
More than just the unveiling of our assemblage today, it's integral to the broader set of symbols and rituals and emblematic gestures distinctly American that sustain the superior and the standing of our republic, bridging one presidency to the next the way we do one generation to the next, honoring the past as much as we look to the future.
As we become more culturally and demographically diverse with ideas that are both molten and disparate pertaining to the future of our nation, our work to ensure the promise of what President Obama once called the unlikely story that is America.
It's never been more intertwined with preserving what has been symbolically and foundationally at the heart of our storied resilience as a nation.
And in this way, today is a reminder that America is governed not by a disconnected series of presidents but rather by the enduring presidency, and within the greater story that's told by the 43 other portraits we boldly celebrate their contrast and their confluence.
Certainly artistically, but also as distinguished chapters in the American narrative.
And notably today as the first black American first family at 1600 Pennsylvania Avenue. And with whom --
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ROGERS: And with whom we shared the joy of watching your wonderful daughters grow up here and come of age. Mrs. Obama, we thank you for your advocacy on behalf of this house,
and for making it possible for visitors to take pictures of these portraits among the other historic artifacts at the White House.
I had the personal privilege of being with you and your mom when we inducted your inaugural gown into the Smithsonian collection. And may I say that the beauty of that white chiffon gown is only exceeded by the woman who wore it and --
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ROGERS: -- and whose spirit is captured in this portrait.
The tradition of service continues with Dr. Biden. She's our steward.
We are honored that you were with us when we celebrated our 60th anniversary. And we look forward to our continued work with you on the educational mission of our association.
And we are ever thankful to you and to you, Mr. President, for hosting this wonderful ceremony today.
And to our artists, Robert McCurdy and Sharon Sprung, we are grateful for your artisanship and dedication to your own craft.
Together, these portraits fulfill a beautiful collaboration and are a testament to what's possible when we serve one another in an effort to give voice to one another.
And I suspect that, beginning tomorrow, these two portraits will be the most photographed by visitors from across the United States of America.
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ROGERS: And it's now my pleasure to introduce an admirer of great institutions and national treasures, the president of the United States of America.
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JOE BIDEN, PRESIDENT OF THE UNITED STATES: Thank you.
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BIDEN: Thank you, thank you, thank you.
(APPLAUSE) BIDEN: Thank you all very much. Please.
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BIDEN: Thank you, thank you, thank you.
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BIDEN: Please.
Thank you, John Rogers and the White House historical society.
Barack and Michelle, welcome home. Welcome home.
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BIDEN: Jill and I and Kamala and Doug are honored to host you and so many friends who have been part of this incredible journey. It includes members of your cabinet and staff, some of whom were foolish enough to come work with me.
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BIDEN: And there's someone else that I'd like to acknowledge tonight, Mrs. Robinson, this is your house as well.
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BIDEN: It's good to see you again, Mom, it really is.
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BIDEN: It's also good to see Mrs. Wilson, who's known affectionately as Mama K.
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BIDEN: One of your best friends and Malia and Sasha's godmother. And as they say in southern Delaware, you've done good, kid.
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BIDEN: And President Kennedy once observed that every president must endure the gap between what he would like and what is possible. He was right.
The history books are full of stories about presidents trying to bridge that gap, stories that include the burdens of the office, the difficult decisions, how the work is always serious and often solemn. And all of that's true, but so is this, with Barack as our president,
we got up every day and went to work full of hope for real, full of purpose, and excited about the possibility before us.
There are few people I'd ever known with more integrity, decency, and moral courage than Barack Obama.
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BIDEN: Mr. President, nothing could have prepared me better or more to become president of the United States than be at your side for eight years. And I mean that from the bottom of my heart.
I know no matter what the issue was, no matter how difficult, no matter what it was about, doing it -- you never did it just the easy way, what the easy way out was.
It was never about doing it that way. It was always about doing what was right literally. You know, just go down the list of historic presidencies.
He never gave up in the simple truth that health care was a right for all Americans, when so many were telling him, including me at one point --
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BIDEN: -- take the compromise. Take the compromise. We weren't sure we could get anything done on ACA. Think about the compromise.
You refused. You went big. And now the Affordable Care Act is there permanently and it's even being improved on.
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BIDEN: Because I remember what you told me: How can I look those people in the eye and leave anybody behind? You weren't about to do that.
You know, his Recovery Act brought America back from a Great Recession. The Auto Rescue protected an iconic industry that represents the nation's heart and soul.
And there are a whole lot of people, some maybe even in this room, that were telling you we should let the industry go bankrupt. We should let it go. But you wouldn't. You persisted. You insisted.
And I remember our conversations. And I'm proud. I'm proud we stood together and wouldn't let that happen.
[13:59:46]
You bet on the American worker. You believed in the American worker. Even though you knew it would be controversial, you stood up for hundreds of thousands of DREAMers, DREAMers who have only known America as their home. It always boggles my mind that others can't understand that a 3-year-
old kid is going to say, no, mom, leave me on the side of the Rio Grande, you go. I'm serious.
