By Suzanne Révy
How would you like to live and work in a giant fishbowl, relentlessly scrutinized and regularly criticized? It is not surprising that most modern Presidents have hired their own photographers to help influence public perceptions of life in one of the biggest fishbowls of all, The White House. The role of Official White House Photographer, however, presents something of a balancing act between building an historic archive and making pictures that capture the ethos and quirks of a sitting President. They are expected to make the President look good, but that impulse is often tempered by the knowledge that their jobs are funded by the American public. The Griffin Museum of Photography has brought together an expansive selection of pictures from Official White House photographers with In the Room Where it Happened: A Survey of Presidential Photographers. By turns intimate and public, the images divulge lesser-known moments of each presidency by Shealah Craighead, Eric Draper, Michael Evans, Sharon Farmer, David Hume Kennerly, Yoichi Okamoto, Bob McNeely, Adam Schultz, Pete Souza, David Valdez and a staff photographer Joyce Boghosian. Also on view, Jeffrey Aaronson’s photographs of the press as it followed President Clinton on an official trip to China in 1998. Both exhibitions are on view through March 31st, 2024. There will be a panel discussion and opening reception on Saturday January 20th starting at 2:00pm.
Official White House photographers are selected and hired by the President, and like the President, they work for the American taxpayer. As such, the photographs are in the public domain, and free of charge to reproduce. But they are rarely published during an administration because there are ethical considerations for news organizations using free hand-outs from the government. As a result, there is a rich archive of material housed in various Presidential libraries and in the National Archives that remain largely unseen. That makes the images on view particularly enlightening; they invite viewers to compare and contrast the idiosyncrasies and mannerisms of the people working in the highest echelons of power.
President Johnson was an outsized, gregarious Texan with expressive hands that were expertly rendered by his photographer Yoichi Okamoto. David Hume Kennerly clearly had a congenial and comfortable relationship with President Ford, whom he photographed in his pajamas during a breakfast meeting, along with other spontaneous moments. And both Bush Presidencies are marked by an easygoing familiarity. These father and son Presidents appear comfortable in their skin, whether they are with advisors or among their family and pets, as depicted through the lenses of David Valdez and Eric Draper.
Presidents Reagan and Obama are both polished in their presentation, but in very different ways. Michael Evans’ pictures of the Reagan era are probably the most formal in the show, but not exactly staged. Despite the “aw shucks, there you go again” ethos of the actor who became President, there was a kind of country club formality to the Reagan White House. Pete Souza worked as a photojournalist at several newspapers and covered two presidencies with a journalistic eye in both the Reagan and Obama White Houses. As Obama’s Chief Official Photographer. Souza was given extraordinary access to President Obama in an effort to monopolize the visual narrative, which often hampered the press photographers.
As a former photography editor at U.S.News & World Report in the ‘90’s, the pictures by Bob McNeely and Sharon Farmer of President Clinton are an interesting trip down memory lane. Clinton relished being photographed, and could be playful with the press photographers, but I can recall the palpable tension in Washington on the morning when Yitzak Rabin and Yassar Arafat were set to sign the Oslo Accords. We wondered, would there be a handshake? The physical distance between Rabin and Arafat in a crowded White House drawing room beforehand reveals the strain of the players behind the scenes.
In Shealeah Craighead’s photographs, President Trump appears confrontational across the table from the Coronavirus task force or on the phone with military leaders, while notably chummy with populist autocrats and dictators. It is interesting to note that many of the pictures selected for this exhibit depict each President’s final day, offering an overview of each entire administration. A small selection of pictures by Adam Schultz from the Biden Presidency is also included, providing a glimpse of a President who possesses greater empathy than his predecessor, but whose administration’s historical context has yet to be determined.
A gaping absence from the show are pictures of Presidents Nixon and Carter, though they make occasional appearances in other administrations. Nixon’s official photographer had very little access to the President aside from occasional “grip-and-grin” portraits, the most famous of which is with Elvis Presley. In fact, Nixon coined the term “photo opportunity” for these quick snapshots with celebrities or dignitaries. President Carter never hired an official photographer after Alan Stanley Tetrick, known for his pictures of President Kennedy and his son John-John, declined the job. Although not official White House photographs, the Griffin included three small prints of Kennedy by Tetrick.
The Griffin Atelier Gallery features the work of a long-time White House staff photographer Joyce Boghosian. She has covered every President since the early 90’s, including several transitions between administrations, signing ceremonies, and a striking image of George H.W. Bush’s coffin in the Capitol rotunda. She has a consistent eye, and I expect, a deep well of institutional knowledge of the significant players and important events that shape American history from the apex of our government.
On view in the Griffin Gallery, Jeffrey Aaronson’s selection of pictures made for Vanity Fair of President Clinton’s official trip to China in 1998 to observe the gaggle of press covering the President. Such trips are planned down to the most minute details, including photographs choreographed by the press office. Flying on Air Force One or one of the chartered press planes sounds exciting but instead appears exhausting, with twelve to fourteen hour days, endless “photo ops,” and few moments in between to rest. Aaronson’s photograph of the press corps collapsing into their economy airline seats puts to rest any notion that covering a President is a glamorous gig.
For information about these exhibits and associated programming, go to: https://griffinmuseum.org