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Melanne Verveer's Subject Files
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ARTS- HRC STATEM
ARTS
specific aesthetic issues to provide a condensed survey of the
development of American sculpture of our time and also to
provide the visitor with some understanding of this dramatic
transformation of the medium from historical traditions into
contemporary concepts.
The current selection is drawn from public art collections of
the Midwest. Any selection constrained as this is by limitations
Twentieth Century
of space, format and scale is necessarily arbitrary. However, it is
hoped that these few works of art, in this beautiful setting, will
offer the visitor to our nation's greatest house some insight into
American Sculpture
the wealth, vitality, imagination and creative achievement to be
experienced in the work of American sculptors of the 20th
century.
at
George W. Neubert, Director
Sheldon Memorial Art Gallery and Sculpture Garden
The White House
University of Nebraska-Lincoln
An Exhibition
This exhibition was made possible
by the generosity of the
Iris and B. Gerald Cantor Foundation
with the co-operation of
The Committee for the Preservation
of the White House
and
White House Historical Association
have always loved sculpture. My husband and I
he twelve works of art selected from American art
I
spent our first date in an art gallery's garden filled
this exhibition of 20th century American sculpture
1
museums for this special exhibition span over seventy
with American sculpture. The President and I hope
years of the 20th century, and represent a diverse and
vital aspect of our cultural heritage. Conceived by
will delight, challenge and inspire the thousands of
Mrs. Clinton and drawn from public collections in the
visitors who pass through the White House every day.
heartland of the nation and installed in the First Ladies' Garden
It is also appropriate that this exhibition is on display in
of the White House, the exhibition has been organized under the
the garden conceived of and created by First Lady
auspices of the Association of Art Museum Directors.
Jacqueline Kennedy. Mrs. Kennedy believed that art
The current selection provides a visual illustration and
could and should be a part of all of our lives. Now these
understanding of the transformation and development of 20th
masterpieces of contemporary art will be accessible to a
century sculpture.
new and larger audience than ever before.
Historically, sculptures have functioned primarily as
The 12 sculptures selected celebrate the special genius
statuary, nobly serving a civic purpose to memorialize
of American artists and their enduring capacity to stir our
society's heroes and reflecting its philosophical ideas. Pieces
imaginations and touch our hearts.
were often placed in an honored setting, high up on a
I hope this celebration of America's creative spirit will
pedestal, physically removed from everyday pedestrian
enable each of us to gain a greater appreciation of the
traffic. Today, much contemporary sculpture has been
rich cultural traditions we share as a nation and as a
removed from the elevated space and placed directly within
people.
the context of the viewer's environment. Significant 20th
My special thanks go to the Association of Art
century sculpture now reflects the individual artist's vision
Museum Directors, the Iris and B. Gerald Cantor
and personal convictions about humankind and contemporary
Foundation, George Neubert, J. Carter Brown, and the
issues in modern society. Freed from specific subject matter
lending institutions, for their time, energy, and wisdom in
or function, the visual and physical elements of three-
making this exhibition possible.
dimensional form-shape, texture, color-have become the
primary syntax for expression in the 20th century.
Hillary Rodham Clinton
This exhibition highlights important examples of work by
American artists who have contributed to this historical
artistic transformation. Though retrospective in nature, over
half of the inclusions in this exhibition are by living
American artists. Diverse in their ideas, idioms and chosen
medium, they span several artistic generations. Divided
almost equally between figuration and abstraction, all evoke
references to nature and the human figure.
Carved, modeled, or constructed, the predominant concern
with material, structure, gravity, gesture and movement
(implied or real) invite the viewer actively to participate and
experience the work. Pieces were chosen that incorporate
TO: MELANNE VERVEER
FROM: JIM CASTELLI
RE: VALUES SPEECH
10/18/94
This is to recap some of the conversations we and others have had about a
values speech and to add a thought or two:
A speech on values, particularly one in a Catholic setting, is important
for a number of reasons:
1 - Voters are concerned about social and family values and it's important
to both show a commitment to values and to link them to administration
policies.
2 - Catholics are a key part of the Democratic coalition who are at risk of
significant defections. They need some reassurance in the form of language
about community and fairnes that they can relate to. Baptists like it when
the President talks about what the Bible says or doesn't say about
abortion, but Catholics are not comfortable with that language. Framing the
choice as "isolation versus community" will subliminally tap the things
(community) that distinguish Catholics from Protestants. It will also
appeal to the Non-Evangelical Protestants whose voting patterns are similar
to those of Catholics.
3 - It's important to give a "high road" speech in the middle of all the
campaigning to give a vision that goes beyond just this election.
4 - The ideal site for the speech is a blue-collar Catholic college or
university in a Midwestern Catholic area. It should be set up in such a way
as to have prominent Catholics acompany the President the way Harris
Wofford and Ray Flynn did at Notre Dame. Good possibilities include John
Carrol University in Cleveland, St. Louis University, and Loyola in
Chicago. Others outside the Midwest include St. John's in New York and
Loyola in Los Angeles.
I think it's important to link domestic and foreign policy in this speech.
One reason is that core values affect everything we do, so it should be
only natural to addres both areas in terms of "opportunity and
responsibility." But on a practical level, it was foreign policy that
brought the President's approval ratings down earlier in the year, and that
affected his ratings on domestic policy. By linking the two, we can use
recent foreign policy successes to help boost overall ratings.
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TO: MELANNE VERVEER
FROM: JIM CASTELLI
RE: VALUES SPEECH DRAFT
10/14/94
Here S a draft of the values speech we ve discussed. It S pretty skeletal,
but I think it S a good start. I tried to combine the best campaign
rhetoric, the language of recent speeches like the Ford and Robb rallies,
and the rhetoric of values and the common good.
It S built around these major themes:
* The public mood today is angry and uncertain, meanness without a mandate.
* People want change, but they re afraid of change.
* Fear brings isolation and isolation brings more fear.
* Americans must chose between isolation and community.
* Community, a cherished American value, is at risk.
* We protect community and live out our American values when we provide
opportunity and responsibility.
* The administration is living out American values by encouraging
opportunity and responsibility at home and abroad.
***
In 1990, Vice President Quayle called the mid-term elections the
silly season in American politics. This year S mid-term elections offer us
the mean season in American politics. A major survey found that Americans
are more cynical and less compassionate today than they were seven years
ago. Commentators have described the national mood as ugly.
What makes reports like these so confusing is that today S anger is
so unfocused. There is no war, no Watergate, no recession to focus on.
People are angry at government and politicians, but they re also ambivalent
and confused. We have meanness without a mandate.
People demand change, but fear it. People complain that government
does too much, they complain about gridlock that keeps government from
doing more, and they reward those who create gridlock.
Much of today S turmoil has been created by what Sen. Bryon Dorgnan
calls America S cottage dissatisfaction industry. It S always easier to
destroy than to build, and many people today want to tear down America for
entertainment.
But there S a deeper reason for today S anger and confusion.
America is going through a time of turmoil, a time of rapid changes when we
seem to have somehow lost our moorings.
* Americans are worried because the criminals are often better
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armed than the police, because so many children carry guns and not books to
school, because the two-parent family is becoming an endangered species.
* Americans are worried because, despite a four-year low in
unemployment and a growth in high-wage jobs, they are still not sure about
their economic futures.
* Americans are worried because they are no longer sure of their
role in the world after the end of the Cold War.
Americans fears are leading to isolation, and isolation only leads
to more fear.
When Americans faces difficult times, they have a choice to make.
They can embrace isolationism and isolation, lashing out at one
another and blaming everyone who isn t exactly like them.
Or they can turn embrace their deepest values and reach out toward
one another in a spirit of renewed community and confidence.
Americans have always been at our best when we embrace one another,
when we work together, when we face our responsibilities and our fears head
on. We are at our best when we work for the common good, the way we did
when we enacted Social Security and Medicare, when we guaranteed civil
rights for every American, when we stood for democracy abroad.
We re all in this together, and we rise or fall together. When
Americans turn on one another with anger and blame, one thing is certain:
The only people who benefit are the most powerful elites who don't want
change.
We can t let that kind of thing happen again. We must choose
community over isolation. Change can be disturbing, but we can, should, and
will make change our friend.
America has always been a special place. Americans are not bound
together by a common race or religion. We are bound together by a common
set of beliefs that have brought people of all races and religions and
ethnic backgrounds together into a country that is the envy of all the
world. It is our values that make us Americans.
It S not easy to talk about values in America today. People who
don t agree with you on one issue or another accuse you of not having any
values. Other people worry that if you talk about values it means you re
going to impose your values on them against their will. Still others simply
mock any talk about values at all.
But it S no secret what our values are. They re American values,
the values reflected in our founding documents, the Declaration of
Independence, the Constitution, and the Bill of Rights. We all know what
those values are -- liberty and justice for all.
The Catholic University of America in Washington recently dedicated
a new building for its law school. There are 16 words carved into the
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facade of the building o list the values and virtues to which the legal
profession should aspire: Compassion, Wisdom, Learning, Equality, Justice,
Service, Community, Truth, Fidelity, Honesty, Conscience, Liberty, Charity,
Integrity, Fairness. Trust. Those are more than values for the legal
profession. They are the values which we all share as Americans, the values
that bind us together despite our vast differences of culture, race, and
religion.
Of that long list of values, the one that may be most at risk today
is community. The angrier we get, the more we blame one another, the more
we scapegoat immigrants or minorities or the poor, the weaker we make the
social fabric that holds us together as a society.
We must be very careful not to let criticism of government turn
into an attack on community. Government is one of the most important tools
that the community uses to work for the common good. There S much to fix in
government. I ve called for campaign reform and lobby reform, and we have
more to do to reinvent government Government can t solve all our problems,
but it can t ignore our problems, either. We are working to create a
government that empowers people to reach their God-given potential; not
more government, but less government that works better for ordinary
Americans.
Values and sound policies go hand in hand. Having good values and
being virtuous isn't enough if the deck is stacked against you. If you re
young and poor and abused and the schools are no good and there are no jobs
and gangs rule the streets, it S very hard to make it. Simply preaching
values to people like that without changing the structures that shape their
lives is cruel and contemptuous, short-sighted and self-deluding.
We need public policies that make the streets safe, build up the
schools, keep families together, and provide good jobs and adequate health
care. That S the right thing to do.
But we could have the best programs in the world -- programs that
pass the Congress without a single dissenting vote -- and it wouldn t be
enough. Because no program can work unless people have the values as well
as the skills to take advantage of them.
We merge values and policies best, we strengthen community best,
when we address both opportunity and responsibility. If we create
opportunity without demanding responsibility without building,
encouraging, and rewarding core American values -- we invite disorder and
weaken the social fabric. This is true whether the "opportunity" comes from
a welfare mother who gets training and a job or a businessman who benefits
from NAFTA or GATT.
If we demand responsibility without providing opportunity, we
create futility, frustration, and bitterness on the part of the have-nots.
cruelty and vindictiveness on the part of the haves, and cynicism on the
part of everyone.
My administration has been about opportunity and responsibility,
about making life better for ordinary people.
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We assume our responsibilities when we lower the deficit and stop
stealing from our children S future.
We assume responsibility when we make government more efficient.
And we assume responsibility when we take assault weapons off the
street and put more police on the street.
We provide opportunity when we add almost five million jobs to the
economy, when we dramatically increase American exports.
We provide opportunity when we guarantee childhood immunizations,
when we expand Head Start, when we launch National Service, and when we
expand the college loan program, the most important break for middle-class
Americans in years.
We provide opportunity when we create apprenticeship programs for
those who don t go on to college, when we pass the motor voter bill, when
we pass the Family and Medical Leave Act so that no one has to choose
between holding down a job and caring for a sick family member.
And we provide opportunity and responsibility abroad, too, when we
advance the values that America has always stood for -- freedom, democracy,
and peace.
We ve helped bring peace to the Middle East, Bosnia, and Northern
Ireland.
We ve nurtured new democracies in Russia, the Commonwealth of
Independent States, and South Africa.
We ve restored a fragile democracy in Haiti, and we ve faced down a
dictator in Iraq.
There S more to do. We can still do more for the economy. We need
health care reform, welfare reform, campaign finance and lobby reform.
These are difficult times. But i repeat what I said in my Inaugural
Address -- There S nothing wrong with America that can t be fixed with
what's right with America. And what S right with America is her values and
her people.
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IMPERIAL ARTS AWARDS RECEPTION
PARTICIPANTS:
PRESIDENT WILLIAM JEFFERSON CLINTON
FIRST LADY HILLARY RODHAM CLINTON
RYUZO SEJIMA, CHAIRMAN, JAPAN ART ASSOCIATION
THE WHITE HOUSE EAST ROOM
WASHINGTON, D.C.
THURSDAY, JUNE 16, 1994
MRS. CLINTON: Please be seated, and welcome to the White House.
It gives the President and all members of the administration a
great pleasure to be hosting this event.
For much of the past week, we have had the pleasure of
celebrating the ties that bind Japan and the United States
together in special friendship. We were honored to welcome Their
Majesties, the Emperor and Empress, and to hold a State Dinner in
their honor on Monday night.
Friendship among nations is built on many things, including an
appreciation of beauty and culture and art. Every Spring, nature
reminds us of that friendship in the bloom of cherry blossoms
transplanted from Japan so many years ago. The Emperor and
Empress told us that they themselves performed a similar
transplant many years ago, taking the seeds from a white birch
tree at the Blair House where they were staying, across the
street from the White House, and planting them at home in the
Imperial Palace Gardens, where four decades later a white birch
tree grows straight and strong.
So today it is fitting that we celebrate the cultivation of
beauty in the form of the arts with the presentation of these
prizes for the first time here in the White House. It is a
special honor to have so many distinguished guests from the
fields of the arts and our museums, business, civic cultural
activities and organizations, the diplomatic corps, members of
Congress. And it is a privilege for our nation to host a
celebration of art and artists whose contributions to our common
human culture unite people around the world.
I would like now to introduce to you the Chairman of the Japan
Arts Association, Mr. Sejima. (Applause.)
MR. SEJIMA: (Through interpreter.) My name is Sejima, Chairman
of the Japan Art Association.
Mr. President and Mrs. Clinton, on behalf of the Japan Art
Association, I would like to offer my heartfelt appreciation for
the invitation to this wonderful reception gathering, and
especially to Mrs. Clinton, for her active participation and
cooperation on behalf of this event.
As I have mentioned, I understand Mrs. Clinton was very much
involved in bringing about this wonderful gathering this
afternoon, and we are very much appreciative of her understanding
and cooperation.
The Japan Art Association was founded in 1879, and let me talk
for a moment about the historical event which led to the founding
of the Association in the context of both of our countries'
respective histories. In 1879, the 18th United States President
Grant, upon completion of his term in office, visited Japan for
an extended period of time. During his visit, the reigning
Emperor Meiji invited President Grant for his views and opinions
on the current world situation, the parliamentary process system,
and other various issues of concern.
Emperor Meiji is the great-grandfather of Emperor Akihito, who is
presently visiting your country.
According to the records in our archives, during that meeting,
the United States President Grant expressed his opinions and
beliefs in the areas of parliamentary system, as well as the
financial, political and other pertinent issues of the time,
along with educational and cultural endeavors.
President Grant also voiced his opinions on the importance of
education and cultural endeavors at the time, and I suspect that
what had been expressed by the United States President left a
lasting impression on His Majesty, which might have inspired His
Majesty with an idea which led to the establishment of the Japan
Art Association as His Majesty's initiative, and also ordered to
be--that such an association be established through the
Government of Meiji.
Therefore, that I am touched--deeply touched, and have not enough
words to express my appreciation to President Clinton for his
show of support and understanding by extending to our group this
invitation to the White House for such a reception as great as
this. And I, for one, along with the members of the Association,
and also the International Advisers of the Association, are
deeply grateful for all the support and understanding shown by
this administration.
As I have said a few minutes ago, this Association has a history
of over 110 years, since 1879. The Association has enjoyed a
continued support and encouragement from our Japanese Royal
Family members. We at the Japan Art Association are committed to
continue to strive for world peace and for furthering
international mutual understanding through cultural and artistic
venues.
2
I would conclude my remarks with a sincere wish for the continued
good health to both of you, President and Mrs. Clinton, and the
prosperity of your country, which plays a very important role as
one of the major countries for us all striving for world peace.
(Applause.)
MRS. CLINTON: Thank you very much. Thank you very much, Mr.
Sejima and the Japan Art Association. It is now my pleasure to
introduce the first musician of the White House, the person who
enjoys art as much as anyone I have ever met, and someone for
whom this is a particularly special occasion because there are a
number of former heads of government with us, and people who have
supported the arts in both their official and personal
capacities, so I'd like to introduce to you now the President of
the United States. (Applause.)
PRESIDENT CLINTON: Thank you very much. Thank you. Thank you.
Thank you very much.
Thank you very much, ladies and gentlemen. Mr. Sejima, thank you
for your fine words and for giving us the history of the Japan
Art Association and its relationship to President Grant and his
visit to Japan.
I had a sense of the great tradition of the Imperial Family when
the Emperor and Empress were here a couple of nights ago with the
First Lady and I, and the Emperor was taken upstairs to my
office, and we were talking about American history, and I said,
"The desk that I use in my office was President Grant's cabinet
table." He said, "Yes, I know. My great-grandfather welcomed
him to Japan." (Laughter.) I had a desk, he had a family
experience. (Laughter, applause.)
There are many very distinguished Americans here, including our
great former Ambassador to Japan, Senator Mike Mansfield, and
Maestro Rostropovich, who was just here to play for the Emperor
and Empress.
And I thank you all for coming. I welcome the members of the
diplomatic community and other distinguished citizens of the
world.
I would like to, in particular, recognize the representatives
here of the panel of International Advisors of the Japan Art
Association, a group of truly distinguished citizens of the
world, the Mayor of Paris, Jacques Chirac, who hosted us
recently. Welcome, sir. The former Prime Minister of Italy,
3
Amintore Fanfani. The former Prime Minister of Japan, Yasuhiro
Nakasone, and the former Prime Minister of Great Britain, Sir
Edward Heath. Welcome to you all. (Applause.) And Mr. David
Rockefeller, Jr., our representative. David, thank you.
(Applause.)
We have all been enriched by the work of the Japan Art
Association, but especially by creating this award for artists
who would not otherwise be recognized internationally for their
outstanding work.
Katherine Anne Porter once wrote that art outlives governments,
creeds, societies, even civilizations. "Art," she wrote, "is
what we find again when the ruins are cleared away." Indeed, in
this very room we have an example of art that survived even the
burning of the White House, this wonderful Gilbert Stewart
portrait of George Washington which was rescued by the then First
Lady, Dolly Madison, when the White House was burned during the
War of 1812. So it endured, and it's just like it was then, but
all the walls here are new, just as all the people here are.
If we cultivate art, nurture it and preserve it, then not only
art endures, but a part of all of us endures as well. The
Praemium Imperiale Prizes were established to mark the second
century of work of the Japan Art Association, recognizing
international excellence in painting, sculpture, architecture,
music, theater and film. All the winners are artists of unique
accomplishment.
The recommendations for the prize recipients are made to the
Japan Art Association by the distinguished committee of
International Advisors whom I have just recognized. I thank
those who are here and those who are not able to come, including
the former West German Chancellor, Helmut Schmidt.
Yesterday, the names of the five award-winners were announced.
In October, they will be honored in ceremonies in Tokyo, but we
wanted to salute them here. And four of the five honorees are
with us today.
For painting, this year's winner is the French artist, Zao
Wou-Ki. Where is he? Please stand up. Thank you. (Applause.)
Born in China, educated there and in France, his style brings
together East and West, and a synthesis of drawing calligraphy
and traditional Chinese painting that is nothing less than
lyrical.
For sculpture, the winner is an American, Richard Serra.
(Applause.) A Californian who literally broke the mold and
shattered ideas about what sculpture is, his work radiates
emotional power on a grand scale and has been an inspiration to
an entire new generation of artists.
4
The winner for architecture is Charles Correa of India--
(applause) --who has done work of truly historic significance,
showing sensitivity in planning communities in poor countries for
genuinely civilized living. His pioneering work has sought to
improve the quality of housing for the urban poor, as well as
providing a more humane way to live.
For music, the winner is the French composer Henri Dutilleux.
(Applause.) His distinctive compositions put into beautiful
music the notion of diversity within unity, producing from novel
arrays of instruments what the composer himself has so aptly
called the joy of sound.
Finally, in the category of theater and film, the winner goes to
someone who could not be with us today, the wonderful British
actor and director, Sir John Gielgud. His career so far has
spanned a mere eight decades, reaching new heights in roles as
different as Hamlet on the stage, and the butler in service to a
tipsy millionaire in the movie "Arthur." He sends his regrets
that he could not be with us today, and he has our best wishes.
We give our congratulations to all these winners and wishes for
many more decades of creative energy. We thank them for stirring
our imaginations and our souls. The world is better for their
efforts. For all of that, we say thank you.
And now I'd like to call on Richard Serra to say just a few words
on behalf of this year's award recipients. Mr. Serra.
MR. SERRA: Mr. President, Mrs. Rodham Clinton, Mr. Sejima,
fellow recipients, distinguished guests. I'd like to beg
difference with Katherine Anne Porter's quote: not all works
outlive their governments. (Laughter.)
I'd like to say a few words in response to President Clinton's
very gracious tribute. And I'm speaking these words with a sense
of humility and awe for the enormous respect I have for my fellow
recipients that have received this award.
It goes without saying that everyone here misses the presence of
John Gielgud, for he, in his work and life, has reflected the
highest standard of contribution to culture. The list of names
that this award has honored and the recipients as a group are
overwhelming. I could name a few off the top--James Stirling,
Fellini, I. M. Pei, Kurasawa, Jasper Johns, deKooning, and
Maestro Rostropovich. It is a list that, personally, I hope I
can live up to and continue to contribute to the standard that
has been set.
5
The interest that you, Mr. President and the First Lady have
taken in the arts is of great importance. It is of great
importance to the world, it is of great importance to every
artist living, known or unknown, it is of great importance for
the unexpected generations to come, and it continues a legacy in
this country started with the Kennedys. I'm profoundly moved and
touched and overwhelmed to have received this award and to be
honored in this particular situation. Thanks very much.
(Applause.)
MRS. CLINTON: We are going to adjourn back into the reception in
the State Dining Room. I hope that all of you will have a chance
to look at the other rooms on the State Floor, the Green Room,
the Blue Room and the Red Room, which reflect some of the art as
well as much of the history of our White House and our nation.
But I think before we adjourn, we ought to have the award
recipients stand together so that we can all show them our
appreciation one more time. (Applause.)
6
First Lady Hillary Rodham Clinton
Remarks Saluting Mstislav Rostropovich
Good evening. I am so delighted, Maestro, to be able to join
with your legions of admirers to salute your remarkable career,
and most especially this evening, your contributions as music
director of our National Symphony Orchestra.
Our gratitude to you is boundless. As conductor, cellist,
pianist, outspoken defender of human rights, and an esteemed
citizen of the world, you have enriched our lives immeasurably,
challenged our perceptions, and uplifted our spirits.
Under your distinguished leadership, the NSO is a national
treasure and, indeed, has secured its place as one of America's
most important orchestras.
We thank you for all you have done, for all you continue to do,
and for all that you are.
The President and I so deeply regret that we are unable to be
with you this evening for what we know will be a very special
"Salute to Slava." It is so fitting that during this week of
celebration, you were able to grace us at the White House with a
special performance at the State Dinner.
The President joins me in wishing you all God's blessing.
Modern
rative works by Paul Manship. Gas-
ton Lachaise and George Segal as
well as more abstract ones by Kelly,
Louise Bourgeois and Louise Nevel-
10/12/94
Sculpture
son, form a virtual survey. of 20th
century sculpture. The earliest
pieces, by Manship, were created in
First Lady
Garden
1921 and 1923. The most recent in-
clude works by contemporary artists
Judith Shea and Richard Hunt.
Finds Niche
"We're excited about having art of
SCULPTURE, From C1
our own time in the White House,"
said Neubert. "But we also felt an
forms. "And I think it should repre-
obligation to help the general public
For Art
sent what's happening in America
begin to understand the transition in
now as well as in the past."
American sculpture from forms with
Yesterday that house's special ap-
storytelling ideas to forms that have
peal was underscored by the line of
Sculpture Garden
their own language."
tourists peering at the goings-on
"I find it marvelous that the White
through the windowed walls of the
Opens at White House
House is paying this much attention
East Wing colonnade and by the
to modern art," said Segal. "It's an-
many artists and museum officials
enormous reinforcement for the art-
toting cameras at the opening recep-
By Judith Weinraub
tion. "This is very gratifying," said
ists and for all the people who love
art. I'm surprised and delighted."
Washington Post Staff Writer
participating artist Ellsworth Kelly.
"I wish my parents were alive to see
Despite the modernity of the
Hillary Clinton opened an exhibit
of 20th century sculpture at the
this. My dad would have said,
works, they have been installed in a
Wow.'
stately, almost old-fashioned manner
White House yesterday by reminisc-
Hillary Clinton was equally enthu-
that matches the delicate sobriety of
ing about her first date with Bill
siastic. "Art is not a marginal part of
the First Lady's Garden. Each piece
Clinton-a walk in the sculpture
society-not a luxury," she said.
is ensconced between trimmed box-
garden at Yale University.
wood trees in its own niche. The set-
It wasn't just the sculpture that
"[It] should be accessible to as many
made her wax nostalgic; yesterday
people as possible."
ting, in fact, virtually dictated the
was the Clintons' 19th wedding anni-
Plans for the exhibit began last
kind and size of pieces that could be
versary.
spring after Clinton, as chairman of
included. "Scale was important in se-
As newly potted chrysanthemums
the Committee for the Preservation
lecting the pieces," said Neubert.
of the White House, asked that
The garden is laid out like one from
gleamed in the autumn sunlight, 12
group to consider ways of borrowing
the 18th or 19th century. Its formal-
works by leading American sculptors
were unveiled in the First Lady's
sculpture for display in the First La-
ity suggested formal and regal
Garden, a formal space designed in
dy's Garden. J. Carter Brown, chair-
works."
1963 for Jacqueline Kennedy.
man of the Commission of Fine Arts
The sculptures have been ar-
Although traditional American
and director emeritus of the Nation-
ranged around the edges of the gar-
painting and sculpture are a perma-
al Gallery, was directed to look into
den, an area approximately the size I
nent part of White House decor, the
it'
of the State Dining Room. "Sculp-
current show is the first attempt to
In June, after Brown and his com-
ture looks wonderful outdoors," said
display 20th-century sculpture
mittee conceived the idea of dividing
Brown. "The garden looks as if it
there.
the country into regions from which
was always intended to be this way."
"This is a living, working family
museums and other public institu-
The works on display are expec-
house," said Clinton, who described
tions might be prevailed upon to lend
ted to be in place through March.
sculpture as one of her favorite art
sculpture to the White House, be
Successive exhibitions from other
See SCULPTURE, C12, Col
contacted the Association of Art Mu-
regions' of the country are contem-
seum Directors:
plated but have not yet been etched
Soon afterward George W. Neu-
in stone. "Wouldn't it be wonderful,"
bert, director of the Sheldon Memo-
said Brown, when asked about the
rial Art Gallery and Sculpture Gar-
prospect of keeping sculpture per-
den at the University of
manently on display. q think it would
Nebraska-Lincoln, was asked to
be a real eye-opener for the Ameri-
put together an exhibit of scuipture
can people to understand that art is
from Midwestern museums.
part of life and part of the First Fam-
Those pieces, which include figu-
ily's life."
THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
June 6, 1995
Remarks by First Lady Hillary Rodham Clinton at
125th Anniversary of the Metropolitan
Museum of Art
New York City
MRS. CLINTON: Thank you. Thank you. Thank you, very much.
It is such a great honor and pleasure for me to join you this
evening. I am someone who is a great fan of this Museum and a
great fan of the Cantors.
And to have an occasion such as this where we celebrate both
is special. I want to add my word of thanks to this Museum and
to all of you who have supported it, nurtured it, loved it,
brought it to where it is today. I have just had an opportunity
to view the proposed new galleries, for the exhibition of the
collection of Greek and Roman art, as I was told, the finest
collection in the Western hemisphere.
And it is very exciting to see the plans for this and to
know what a contribution it will make to the continuing greatness
of the Museum. None of this would be possible without all of you
who have been patrons and supporters of this Museum. And
tonight, we honor two people who have been especially important.
Iris and Bernie have over the years stood behind so many
important causes in health care and education. And tonight, we
celebrate their contribution to the arts. What they have done by
their generosity has not only meant that literally millions of
people have been enhanced by their eye, their passion, their
commitment. But it has also, I believe, served to spur others to
be similarly generous with their own love of art.
For all we celebrate tonight, I must say, though, it is
something of a bittersweet moment, for those of us who care
deeply about the arts in our country. Because, there is, as you
know well, a movement underway to undermine the cultural
traditions that all of you in this room are upholding by your
presence tonight.
1
our
They fail to appreciate what every generation of Americans
have intuitively known, that our artistic imagination is critical
to our civilization and our democracy So I hope that as we
think about this Museum tonight and the contribution of the
Cantors, we will think about ways that each of us can try to
continue the traditions represented. And we will think, too,
about all of the children, two hundred to three hundred thousand
a year, who come to this Museum. The potential artists and
teachers and lovers and patrons of the arts of the future.
To make sure that their potential for appreciating what we
have today, thanks to the partnership between public and private
lovers of the art; will always be there. Yes, we have hard
decisions to make in America; yes, they are challenging. But let
us remember what really lies at the root of greatness as a people
-investing in our future, caring about the best of our
traditions. And let's not turn our back on that kind of legacy.
With your help, your generosity, your energy and your
commitment, I don't think we will, but I know this is a
challenging time. I personally wanted to be here this evening to
thank the Cantors, to thank the Museum and to thank all of you
for standing up on behalf of the arts in America. Thank you all.
(Applause)
###
3
THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
September 21, 1994
REMARKS BY THE PRESIDENT
AND THE FIRST LADY
AT THE PRESIDENT'S COMMITTEE ON
THE ARTS AND HUMANITIES CEREMONY
The East Room
4:56 P.M. EDT
MRS. CLINTON: Thank you. Thank you very much. Thank
you and please be seated.
It is a great pleasure for the President and I to
welcome all of you to the White House. We are very pleased and proud
of this committee and are grateful to all who agreed to serve, and
are particularly grateful to Dr. Brademas for taking on the job of
being the chair; the distinguished vice-chairs; and everyone who has
been willing to take their time for this commitment.
We believe this is an important day for those of us who
care deeply about American culture. It's important not only because
this committee has so much potential to do good in ways that will
affect the lives of Americans, but also by focusing particularly in
providing hopeful and productive outlets for our children.
We want to support and nurture our artists and humanists
and the traditions that they represent. And we want also to bring
those traditions alive for literally millions and millions of
children who too often grow up without opportunities for creative
expression; without opportunities for intellectual stimulation;
without exposure to the diverse cultural traditions that contribute
to our identity as Americans.
Too often today, instead of children discovering the
joyful rewards of painting, or music, or sculpting, or writing, or
testing a new idea, they express themselves through acts of
frustration, helplessness, hopelessness and even violence.
We see too clearly how an erosion and breakdown of our
most cherished institutions has resulted in a fraying of the whole
social fabric. We see it most tragically in children killing
children.
We know that the arts have the potential for
obliterating the limits that are too often imposed on our lives. We
know that they can take anyone, but particularly a child, and
transport that child beyond the bounds that circumstance has
prescribed.
We hope that among the many contributions this committee
makes it will be thinking and offering ideas about how we can provide
children with safe havens to develop and explore their own creative
and intellectual potential.
The arts and humanities have the potential for being
such safe havens. In communities where programs already exist, they
are providing soul-saving and life-enhancing opportunities for young
people. And I am delighted that as oné of its major endeavors this
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committee will be considering ways of expanding those opportunities
to all of our children.
Doing what we can here in the White House and throughout
the administration to promote and nurture the arts and humanities is
one of the great pleasures that has been ours in the last 20 months.
The President believes so strongly in the role that arts and
humanities has played in individual lives and in our collective life
as a nation. As a child, he found so much Joy and challenge in music
and in the other art forms. And together, we have tried in our own
lives and with our own daughter to provide that kind of exposure and
opportunity.
So it is with great pleasure and particular Joy, in
front of this group on this day, for me to introduce the President of
the United States. (Applause.)
THE PRESIDENT: Thank you very much, the First Lady and
my old friend John Brademas, and to all of you who have agreed to
serve, and your friends and supporters who are here.
I thank you for coming. Before I make the remarks that
I want to make to you, I believe in view of the events of the last
few days, and particularly the events of the last 24 hours, I should
make a short statement about the situation in Haiti.
The deployment of our forces there is now going quite
well. As a result of the agreement we have reached last weekend, we
now have 8,500 United States troops who have entered Haiti peacefully
without any resistance. The multinational force, which was enhanced
today by the decision of Australia to join will soon be in a position
to carry out its overriding mission: to ensure the transfer of power
from the de facto military leaders to the democratically-elected
government of Haiti by October the 15th.
I must also tell you how strongly we condemned
yesterday's police violence there. Such conduct cannot and will not
be tolerated. General Shelton, our Commander on the ground, has met
with the Haitian military and police officials today and made clear
our policy to them.
During this transition period, the Haitian military will
carry out basic police functions. Our Armed Forces cannot and will
not become Haiti's police force. But we can work to see that the
Haitian military and police operate in a responsible and professional
manner. Today, we are deploying on schedule 1,000 United States
military police who will monitor the Haitian police, and by their own
presence help to deter violence. In the days ahead we will
reintroduce into Haiti human rights monitors who were expelled
several weeks ago, and bring in police monitors as part of the
multinational force.
Today is only the second day of this mission. The
situation in Haiti will not change immediately. But today is better
than yesterday. And yesterday was better than the day before. We
will keep going. We will make steady progress. We will restore
democracy.
As we move toward the 15th of October, we will also work
to moderate the conduct of Haitian security forces without assuming
the responsibilities. Then after the democratic government returns
to power, the coalition will help it to devise a long-term plan of
police and military reform, including retraining people so that they
can perform to their fullest capabilities in an appropriate manner
for a democratic society.
We went into Haiti to help stop the senseless, tragic
terror that has plagued the nation since the democratically-elected
MORE
government was forced from power. The habits of violence will not be
shed overnight. But during the coming weeks, we will work to help
stop the violence and to begin the process of reconciliation.
I thank the American people for their understanding and
increasing support for this endeavor. And, again, let me say my
special word of appreciation to our troops there and to their
families and all those who have supported them. (Applause.)
Now, let me thank you all again, all of you who've
agreed to serve on the President's Committee on Arts and Humanities,
to underscore the vital partnership that must exist between your
government and the private citizens who do the work of the arts and
humanities in our nation. I want to thank the First Lady for
agreeing to be the honorary chair, although this is a job she wanted,
unlike some of those I've asked her to take on. (Laughter.) You
couldn't have a much more appreciative or informed friend.
I am also very, very pleased that John Brademas has
agreed to serve as the chairman. I have known him for many years
since his distinguished career in the United States Congress and
through his brilliant presidency of New York University. I think he
is one of our nation's most outstanding citizens and will certainly
be one of the most eloquent advocates imaginable for the cause you
are here to further. (Applause.)
He also happens to have been an original cosponsor of
the bill that created the National Endowment for the Arts and
Humanities, and he wrote the bill that established the Institute of
Museum Services. He also promised to give me free congressional
lobbying advice on the side in return for this appointment.
(Laughter.)
I have charged the President's Committee with advancing
public understanding of the arts and humanities, which is so
important to our democracy, and to establish new partnerships between
the federal agencies and the private sector.
As a sign of our commitment to the arts and humanities
today, we have here with us members of the Cabinet and the
administration, including Secretary Riley, Sheldon Hackney, Jane
Alexander, Joe Duffy, and a number of other government officials.
I appointed as all of you can see an extraordinary group
of Americans to this committee -- artists, scholars, writers,
thinkers, leaders in the corporate world and the philanthropic
community, committed citizens, activists recognized in their
communities -- people who represent outstanding achievement and a
commitment to the cultural life of our nation -- a commitment to keep
it alive and to make it more accessible.
By this time next year, I want you to deliver to me a
report on the progress we're making in furthering America's cultural
life. For 200 years the arts and humanities have helped to bridge
American differences, learned to appreciate differences that helped
Americans to learn to appreciate differences, one from another, and
to build strong and vibrant institutions across our country. You
must help us explore ways to do this better.
The most disturbing thing to me about American life
today is not the problems we have, although we have problems of
plenty, it is the lack of unity among Americans and the lack of
optimism we feel in dealing with those problems.
Just a couple of weeks ago, a distinguished
international panel of economists said that the United States was the
most productive country in the world. They said that for the first
time in almost a decade because the remarkable resurgence of our
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economy, because of the number of jobs we're creating, because we
accounted for almost all the job growth and three-quarters of the
economic growth in the seven great industrial nations of the world in
the last year and a half, and because we are taking on a lot of our
biggest challenges -- bringing our government deficit down three
years in a row for the first time since Mr. Truman was president --
the only country of all the advanced economies to do that. And yet,
so many Americans still feel that we're kind of adrift and falling
apart from one another.
Maybe even more important as you look toward the 21st
century -- isn't it interesting that in the last year and a half the
South Africans wanted us to spend $35 million and send our best
people to South Africa to work on making that election a success.
The Irish and the English have been fighting for eight centuries now.
They wanted the United States to be involved in the process of
reconciliation that is now taking hold in Northern Ireland. After
decades of brutal struggle, the Israelis and the Arabs working
together to make peace in the Middle East want the Americans to be
centrally involved.
Even in the moment of our greatest tension a few days
ago in Haiti, one of the military leaders said, well, if the
President is determined to do this, and the world community is
absolutely determined to go ahead, we want the Americans here. Why
is that? We have Haitian Americans, Jewish Americans, Arab
Americans, Irish Americans, English Americans. You think of it --
this diversity we have which cuts across racial and religious and
philosophical and regional and income lines, it is the source of our
great strength today in a world that is ever more interdependent.
And people look at us and say, you know, with their all
their problems -- yes, their crime rate's too high; and, yes, they're
too violent; yes, too many of their kids drop out of school; and,
yes, there's too much income inequality, especially for working
people -- but you know, they pretty well get along. And people from
all different kinds of backgrounds wind up pursuing their chosen path
in life and living up to their God-given potential. And they're
adaptable -- they work their way through the changes that time and
circumstance are imposing on them. That's what others think about
us.
We somehow have to begin to think that about ourselves
again. And I cannot help but believe that the arts and humanities
must play a central role in that task. How we imagine our own lives
and our own future and how we imagine ourselves as a country will
have as big an impact on what it is we ultimately become as anything
in the world.
I said the other day, I will just say again, a lot of
you have been involved in various enterprises, great business
enterprises, great arts enterprises, great entertainment enterprises.
Just imagine how you would function if everyday in all the important
years of your life you showed up for work and two-thirds of the
people you were working with thought that your outfit was going in
the wrong direction and nothing good could happen. (Laughter.)
Imagine what would happen if the National Gallery of Art were given
the most priceless collection of impressionist paintings uncovered
after having been thought destroyed for 50 years, and two-thirds of
the people said, I don't believe they're impressionist paintings.
(Laughter.) I know Monet -- he was a friend of mine. That's not
him. (Laughter.) Don't bother me with the facts. (Laughter.)
You're laughing because you know that it's true, don't you?
(Laughter.) There is a grain of truth in this. Somehow we have to
not sweep our problems under the rug and not sweep our differences
under the rug, for that is also what makes America great.
But we only find energy for dealing with our problems
and the heart and the hearing to deal with our differences when at
least we have a realistic appreciation of where we are, what we're
- 5 -
doing and where we're going. And I feel so good about the work we've
done to move America forward in the last 20 months, but we'd all have
to admit we've still got a lot of work to do in bringing America
together in giving our people a realistic feeling about where we are
in the world and where we're going. You can do that. You can make a
huge difference. The arts and humanities have always helped to do
that work.
So I urge you to continue- in this work. I urge you to
make your progress report to me. I urge you to remember what we are
trying to do in our schools in helping to improve our children's
education with the arts and humanities. I urge you to work to expand
private philanthropy. We all know that the government in this
country provides a crucial measure, but only a tiny measure of the
support that the arts and humanities need.
I urge you to promote international cultural exchange
and understanding, not only because we need desperately to know more
about others throughout the world, but because I believe that we'll
learn a lot more about ourselves if we just come in contact with
people from other walks of life and other paths of the world.
Thanks to phones, faxes, internet, E-mail, CNN, we can
see the power of our cultural traditions as they are exported around
the world. And sometimes they come back to us. We had the only --
we're the first White House to communicate with huge numbers of
people from all over by E-mail. And I'π trying to do a sociological
analysis now of whether there's a difference between the E-mail
communication and the mail communication -- or the female
communication. (Laughter.)
I am very hopeful that you will make a remarkable
contribution to this country. I went over this list of people with
great care. I tried to get a very different group of people. I
tried to imagine all the different things that I hope that this
committee could deal with and all the different challenges I hope you
could assume. If I haven't done a good job, it's not your fault it's
mine in picking you, but I think you're pretty special.
Let me say in closing that I hope that in addition to
the schools, you can think about how we can increase access to the
arts and humanities all across America to people who might otherwise
be isolated from them people who are homebound, people who live in
very isolated areas, people who now don't even know how to speak the
language that would be necessary to ask for something that might
change their lives forever. I ask you also to think of that.
We've faced a lot of challenges as a country, but I'm
actually pretty optimistic about it based on the objective evidence.
What remains is whether we can develop a vision that will sustain us
as a people as we move through a period of change without a known big
enemy into an uncertain future. It requires courage, but courage
comes from having something inside that you can connect with what you
see outside.
You can help us as we work our way through this in this
remarkable time in our country's history. I hope you enjoy it. I
thank you for serving. And I thank you for being here today.
Thank you. (Applause.)
END
5:12 P.M. EDT
THE NEW YORK TIMES OP-ED WEDNESDAY, JUNE 21,
Arts for Our Sake
form whole communities by bringing
'By Hillary Rodham Clinton
the arts and artists to millions who
otherwise might never have had the
his is an ominous time
opportunity to explore first-hand our
T
for those of us who
shared artistic heritage.
care deeply about the
The President has shown that we
arts in America. A
can balance the budget over the next
misguided,
misin-
10 years without undermining our
commitment to the arts. The N.E.A.
formed effort to elimi-
mate public support for the arts not
budget accounts for less than 0.02
percent of the Federal budget. Elimi-
Anly threatens irrevocable damage
nating this small but vital agency
600 our cultural Institutions but also to
would have grave consequences for
"our sense of ourselves and what we
local economies. Federal support for
"stand for as a people.
the arts helps attract tourists, stimu-
: One of the great successes of the
late business, expand the tax base
Barts in America is that they are not
and improve the quality of life - a
The preserve of any "cultural elite."
huge return on a small investment.
Through museums, libraries,
Despite a 30-year bipartisan com-
schools, dance companies and con-
mitment to the arts, there are those
certs, the arts are truly part of the
who argue that public support is a
luxury we can no longer afford. They
mistakenly suggest that the arts are
enjoyed only by a small, wealthy
Cutting support
minority. But if public support for
the arts disappears, those most af-
for the N.E.A.
fected will not be the richest Ameri-
cans but the millions of citizens who
will hurt children.
rely on the N.E.A. to bring the arts to
their local schools and communities.
I find it ironic that those who talk
the loudest about America's loss of
public domain, accessible to all and
civility, character and values (par-
çapable of encouraging every per-
ticularly those arising from Western
civilization) are often the first to
son's artistic expression and sensi-
recommend obliterating the agen-
bility.
cies responsible for promoting and
The National Endowment for the
Cathy Rull
arts programs that make Sophocles,
Arts, in partnership with individuals,
Shakespeare, Mozart and O'Keefe
mathematics and philosophy. My
stand better the complexities of life
corporations, foundations and other
available to our children.
sons ought to study mathematics and
and gives us a bridge to the world
patrons of the arts. has helped trars-
They fail to appreciate what every
philosophy
in order to give their
preceding and surrounding us. Most
generation of Americans has intu-
children a right to study painting,
important, exposure to our cultural
Hillary Rodham Clinton is honorary
itively known - that the artistic
poetry, music."
traditions enriches the lives of our
chairwoman of the President's Com-
imagination is critical to our civiliza-
The power of the arts is not simply
children.
"mittee on the Arts and Humanities.
tion and our dem
cy They forget
to provide pleasant esthetics but to
Too often, we see children who,
This article is based on her remarks
the prescient words of John Adams:
help move us forward as a democra-
instead of discovering the joys of
at the Metropolitan Museum of Art
"I must study politics and war that
cy. Human expression, as conveyed
painting, music, sculpting or writing,
earlier this month
my sons may have liberty to study
through the arts, enables us to under-
express themselves through acts of
frustration and even violence. The
arts offer an alternative to the more
disturbing elements of our popular
culture, and a safe haven that allows
children to explore their creative po-
tential, transporting them beyond
the bounds of their difficult circum-
stances. Their exposure to the roots
and alverse chness of human civili-
zation will enhance their understand-
ing of their own heritage and the
world in which they live.
Clearly our nation faces difficult
choices. But as the rhetoric heats up
over the role of government in our
society, I hope we will remember
that public support for the arts is a
down payment on our future. It is an
investment in the values we claim to
honor and in the cultural traditions in
which democracy has flourished for
218 years. Now is no time to turn our
backs on that legacy or its promise.
TO THE CONGRESS OF THE UNITED STATES:
It is my pleasure to present to you the twenty-eighth
annual report of National Endowment for the Humanities (NEH).
In terms of breadth and number of projects funded, this agency
is the largest grant-making entity for the humanities in the
country. The Endowment supports scholars, teachers, and
students in their research and studies, and provides funds for
projects such as documentary films and museum exhibitions that
reach a large general audience. These humanities activities
strengthen the cultural resources of the nation and provide
insight into the problems that face our increasingly complex
society.
In addition to direct federal support of the humanities,
NEH programs have stimulated private contributions, to date
almost $1.3 billion in matching gift funds. The Endowment
also requires grantees in most programs to commit their own
funds for part of the project costs. The NEH support of a
project is highly respected and often attracts additional
funding from other sources.
The country can be proud of the role the Endowment has
played as a catalyst for the support of excellent humanities
scholarship and education in the United States over the past
twenty-eight years.
William Clinson
THE WHITE HOUSE,
May 18, 1994.
TO THE CONGRESS OF THE UNITED STATES:
I am pleased to present to you the Twenty-ninth Annual
Report of the National Endowment for the Humanities (NEH), the
Federal agency charged with fostering scholarship and imparting
knowledge in the humanities. Its work supports an impressive
range of humanities projects.
These projects can reach an audience as general as
the 28 million who watched the documentary Baseball, or as
specialized as the 50 scholars who this past fall examined
current research on Dante. Small local historical societies
have received NEH support, as have some of the Nation's largest
cultural institutions. Students from kindergarten through
graduate school, professors and teachers, and the general public
in all parts of the Nation have been touched by the Endowment's
activities.
As we approach the 21st century, the world is growing
smaller and its problems seemingly bigger. Societies are
becoming more complex and fractious. The knowledge and wisdom,
the insight and perspective, imparted by history, philosophy,
literature, and other humanities disciplines enable us to meet
the challenges of contemporary life.
William G. crinton
THE WHITE HOUSE,
February 9, 1995.
TO THE CONGRESS OF THE UNITED STATES:
It is my special pleasure to transmit herewith the
Annual Report of the National Endowment for the Arts for
the fiscal year 1993.
The National Endowment for the Arts has awarded over
100,000 grants since 1965 for arts projects that touch every
community in the Nation. Through its grants to individual
artists, the agency has helped to launch and sustain the
voice and grace of a generation -- such as the brilliance of
Rita Dove, now the U.S. Poet Laureate, or the daring of dancer
Arthur Mitchell. Through its grants to art organizations, it
has helped invigorate community arts centers and museums,
preserve our folk heritage, and advance the performing,
literary, and visual arts.
Since its inception, the Arts Endowment has believed that
all children should have an education in the arts. Over the
past few years, the agency has worked hard to include the arts
in our national education reform movement. Today, the arts are
helping to lead the way in renewing American schools.
I have seen first-hand the success story of this small
agency. In my home State of Arkansas, the National Endowment
for the Arts worked in partnership with the State arts agency
and the private sector to bring artists into our schools, to
help cities revive downtown centers, and to support opera and
jazz, literature and music. All across the United States, the
Endowment invests in our cultural institutions and artists.
People in communities small and large in every State have
greater opportunities to participate and enjoy the arts. We all
benefit from this increased arts presence, and yet the cost is
just 65 cents per American. The payback in economic terms has
always been several-fold. The payback in human benefit is
incalculable.
William G. cuiton
THE WHITE HOUSE,
April 6, 1995.
TO THE CONGRESS OF THE UNITED STATES:
I am pleased to present to you the 1995 Annual Report of
the National Endowment for the Humanities (NEH). For 30 years,
this Federal agency has given Americans great opportunities to
explore and share with each other our country's vibrant and
diverse cultural heritage. Its work supports an impressive
array of humanities projects.
These projects have mined every corner of our tradition,
unearthing all the distinct and different voices, emotions,
and ideas that together make up what is a uniquely American
culture. In 1995, they ranged from an award-winning television
documentary on President Franklin Delano Roosevelt, the radio
production Wade in the Water, to preservation projects that will
rescue 750,000 important books from obscurity and archive small
community newspapers from every State in the Union. Pandora's
Box, a traveling museum exhibit of women and myth in classical
Greece, drew thousands of people.
The humanities have long helped Americans bridge
differences, learn to appreciate one another, shore up the
foundations of our democracy, and build strong and vital
institutions across our country. At a time when our society
faces new and profound challenges, when so many Americans feel
insecure in the face of change, the presence and accessibility
of the humanities in all our lives can be a powerful source
of our renewal and our unity as we move forward into the
21st century.
William G. Chinton
THE WHITE HOUSE,
April 17, 1996.
FIRST LADY HILLARY RODHAM CLINTON
STATEMENT FOR FALL 1995 SCULPTURE GARDEN
I have always loved sculpture. My husband and I spent our
first date in an art gallery's garden filled with American
sculpture. The President and I hope this exhibition of 20th
century American sculpture will delight, challenge and inspire
the thousands of visitors who pass through the White House every
day.
This is the third in a series of sculpture exhibitions
showcasing works from various regions of the country. Like the
two earlier exhibitions, it is appropriately on display in the
garden conceived of and created by First Lady Jacqueline Kennedy.
Mrs. Kennedy believed that art could and should be a part of all
of our lives. Now these masterpieces of contemporary art will be
accessible to a new and larger audience than ever before.
The eleven sculptures from the Southwest and West regions of
the United States reflect and celebrate the special genius of
American artists and their enduring capacity to stir our
imaginations and touch our hearts.
I hope this celebration of America's creative spirit will
enable each of us to gain a greater appreciation of the rich
cultural traditions we share as a nation and as a people.
My special thanks go to the Association of Art Museum
Directors, The Iris and B. Gerald Cantor Foundation, Raymond D.
Nasher, Alison de Lima Greene and Peter C. Marzio of the Museum
of Fine Arts, Houston; J. Carter Brown; and the lending
institutions, for their time, energy, and wisdom in making this
exhibition possible.
Hillary Rodham Clinton
Rey- names pls check operase, it's done.
mu.
First Lady Hillary Rodham Clinton
Remarks Saluting Mstislav Rostropovich
Good evening. I am so delighted, Maestro, to be able to join
with your legions of admirers to salute your remarkable career,
and most especially this evening, your contributions as music
director of our National Symphony Orchestra.
Our gratitude to you is boundless. As conductor, cellist,
pianist, outspoken defender of human rights, and an esteemed
citizen of the world, you have enriched our lives immeasurably,
challenged our perceptions, and uplifted our spirits.
Under your distinguished leadership, the NSO is a national
treasure and, indeed, has secured its place as one of America's
most important orchestras.
We thank you for all you have done, for all you continue to do,
and for all that you are.
The President and I so deeply regret that we are unable to be
with you this evening for what we know will be a very special
"Salute to Slava." It is so fitting that during this week of
celebration, you were able to grace us at the White House with a
special performance at the State Dinner.
The President joins me in wishing you all God's blessing.
THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
September 21, 1994
REMARKS BY THE PRESIDENT
AND THE FIRST LADY
AT THE PRESIDENT'S COMMITTEE ON
THE ARTS AND HUMANITIES CEREMONY
The East Room
4:56 P.M. EDT
MRS. CLINTON: Thank you. Thank you very much. Thank
you and please be seated.
It is a great pleasure for the President and I to
welcome all of you to the White House. We are very pleased and proud
of this committee and are grateful to all who agreed to serve, and
are particularly grateful to Dr. Brademas for taking on the job of
being the chair; the distinguished vice-chairs; and everyone who has
been willing to take their time for this commitment.
We believe this is an important day for those of us who
care deeply about American culture. It's important not only because
this committee has so much potential to do good in ways that will
affect the lives of Americans, but also by focusing particularly in
providing hopeful and productive outlets for our children.
We want to support and nurture our artists and humanists
and the traditions that they represent. And we want also to bring
those traditions alive for literally millions and millions of
children who too often grow up without opportunities for creative
expression; without opportunities for intellectual stimulation;
without exposure to the diverse cultural traditions that contribute
to our identity as Americans.
Too often today, instead of children discovering the
joyful rewards of painting, or music, or sculpting, or writing, or
testing a new idea, they express themselves through acts of
frustration, helplessness, hopelessness and even violence.
We see too clearly how an erosion and breakdown of our
most cherished institutions has resulted in a fraying of the whole
social fabric. We see it most tragically in children killing
children.
We know that the arts have the potential for
obliterating the limits that are too often imposed on our lives. We
know that they can take anyone, but particularly a child, and
transport that child beyond the bounds that circumstance has
prescribed.
We hope that among the many contributions this committee
makes it will be thinking and offering ideas about how we can provide
children with safe havens to develop and explore their own creative
and intellectual potential.
The arts and humanities have the potential for being
such safe havens. In communities where programs already exist, they
are providing soul-saving and life-enhancing opportunities for young this
people. And I am delighted that as one of its major endeavors
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- 2 -
committee will be considering ways of expanding those opportunities
to all of our children.
Doing what we can here in the White House and throughout
the administration to promote and nurture the arts and humanities is
one of the great pleasures that has been ours in the last 20 months.
The President believes so strongly in the role that arts and
humanities has played in individual lives and in our collective life
as a nation. As a child, he found so much joy and challenge in music
and in the other art forms. And together, we have tried in our own
lives and with our own daughter to provide that kind of exposure and
opportunity.
So it is with great pleasure and particular joy, in
front of this group on this day, for me to introduce the President of
the United States. (Applause.)
THE PRESIDENT: Thank you very much, the First Lady and
my old friend John Brademas, and to all of you who have agreed to
serve, and your friends and supporters who are here.
I thank you for coming. Before I make the remarks that
I want to make to you, I believe in view of the events of the last
few days, and particularly the events of the last 24 hours, I should
make a short statement about the situation in Haiti.
The deployment of our forces there is now going quite
well. As a result of the agreement we have reached last weekend, we
now have 8,500 United States troops who have entered Haiti peacefully
without any resistance. The multinational force, which was enhanced
today by the decision of Australia to join will soon be in a position
to carry out its overriding mission: to ensure the transfer of power
from the de facto military leaders to the democratically-elected
government of Haiti by October the 15th.
I must also tell you how strongly we condemned
yesterday's police violence there. Such conduct cannot and will not
be tolerated. General Shelton, our Commander on the ground, has met
with the Haitian military and police officials today and made clear
our policy to them.
During this transition period, the Haitian military will
carry out basic police functions. Our Armed Forces cannot and will
not become Haiti's police force. But we can work to see that the
Haitian military and police operate in a responsible and professional
manner. Today, we are deploying on schedule 1,000 United States
military police who will monitor the Haitian police, and by their own
presence help to deter violence. In the days ahead we will
reintroduce into Haiti human rights monitors who were expelled
several weeks ago, and bring in police monitors as part of the
multinational force.
Today is only the second day of this mission. The
situation in Haiti will not change immediately. But today is better
than yesterday. And yesterday was better than the day before. We
will keep going. We will make steady progress. We will restore
democracy.
As we move toward the 15th of October, we will also work
to moderate the conduct of Haitian security forces without assuming
the responsibilities. Then after the democratic government returns
to power, the coalition will help it to devise a long-term plan of
police and military reform, including retraining people so that they
can perform to their fullest capabilities in an appropriate manner
for a democratic society.
We went into Haiti to help stop the senseless, tragic
terror that has plagued the nation since the democratically-elected
MORE
government was forced from power. The habits of violence will not be
shed overnight. But during the coming weeks, we will work to help
stop the violence and to begin the process of reconciliation.
I thank the American people for their understanding and
increasing support for this endeavor. And, again, let me say my
special word of appreciation to our troops there and to their
families and all those who have supported them. (Applause.)
Now, let me thank you all again, all of you who've
agreed to serve on the President's Committee on Arts and Humanities,
to underscore the vital partnership that must exist between your
government and the private citizens who do the work of the arts and
humanities in our nation. I want to thank the First Lady for
agreeing to be the honorary chair, although this is a job she wanted,
unlike some of those I've asked her to take on. (Laughter.) You
couldn't have a much more appreciative or informed friend.
I am also very, very pleased that John Brademas has
agreed to serve as the chairman. I have known him for many years
since his distinguished career in the United States Congress and
through his brilliant presidency of New York University. I think he
is one of our nation's most outstanding citizens and will certainly
be one of the most eloquent advocates imaginable for the cause you
are here to further. (Applause.)
He also happens to have been an original cosponsor of
the bill that created the National Endowment for the Arts and
Humanities, and he wrote the bill that established the Institute of
Museum Services. He also promised to give me free congressional
lobbying advice on the side in return for this appointment.
(Laughter.)
I have charged the President's Committee with advancing
public understanding of the arts and humanities, which is so
important to our democracy, and to establish new partnerships between
the federal agencies and the private sector.
As a sign of our commitment to the arts and humanities
today, we have here with us members of the Cabinet and the
administration, including Secretary Riley, Sheldon Hackney, Jane
Alexander, Joe Duffy, and a number of other government officials.
I appointed as all of you can see an extraordinary group
of Americans to this committee -- artists, scholars, writers,
thinkers, leaders in the corporate world and the philanthropic
community, committed citizens, activists recognized in their
communities -- people who represent outstanding achievement and a
commitment to the cultural life of our nation -- a commitment to keep
it alive and to make it more accessible.
By this time next year, I want you to deliver to me a
report on the progress we're making in furthering America's cultural
life. For 200 years the arts and humanities have helped to bridge
American differences, learned to appreciate differences that helped
Americans to learn to appreciate differences, one from another, and
to build strong and vibrant institutions across our country. You
must help us explore ways to do this better.
The most disturbing thing to me about American life
today is not the problems we have, although we have problems of
plenty, it is the lack of unity among Americans and the lack of
optimism we feel in dealing with those problems.
Just a couple of weeks ago, a distinguished
international panel of economists said that the United States was the
most productive country in the world. They said that for the first
time in almost a decade because the remarkable resurgence of our
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- 4 -
economy, because of the number of jobs we're creating, because we
accounted for almost all the job growth and three-quarters of the
economic growth in the seven great industrial nations of the world in
the last year and a half, and because we are taking on a lot of our
biggest challenges -- bringing our government deficit down three
years in a row for the first time since Mr. Truman was president --
the only country of all the advanced economies to do that. And yet,
so many Americans still feel that we're kind of adrift and falling
apart from one another.
Maybe even more important as you look toward the 21st
century -- isn't it interesting that in the last year and a half the
South Africans wanted us to spend $35 million and send our best
people to South Africa to work on making that election a success.
The Irish and the English have been fighting for eight centuries now.
They wanted the United States to be involved in the process of
reconciliation that is now taking hold in Northern Ireland. After
decades of brutal struggle, the Israelis and the Arabs working
together to make peace in the Middle East want the Americans to be
centrally involved.
Even in the moment of our greatest tension a few days
ago in Haiti, one of the military leaders said, well, if the
President is determined to do this, and the world community is
absolutely determined to go ahead, we want the Americans here. Why
is that? We have Haitian Americans, Jewish Americans, Arab
Americans, Irish Americans, English Americans. You think of it --
this diversity we have which cuts across racial and religious and
philosophical and regional and income lines, it is the source of our
great strength today in a world that is ever more interdependent.
And people look at us and say, you know, with their all
their problems -- yes, their crime rate's too high; and, yes, they're
too violent; yes, too many of their kids drop out of school; and,
yes, there's too much income inequality, especially for working
people -- but you know, they pretty well get along. And people from
all different kinds of backgrounds wind up pursuing their chosen path
in life and living up to their God-given potential. And they're
adaptable they work their way through the changes that time and
circumstance are imposing on them. That's what others think about
us.
We somehow have to begin to think that about ourselves
again. And I cannot help but believe that the arts and humanities
must play a central role in that task. How we imagine our own lives
and our own future and how we imagine ourselves as a country will
have as big an impact on what it is we ultimately become as anything
in the world.
I said the other day, I will just say again, a lot of
you have been involved in various enterprises, great business
enterprises, great arts enterprises, great entertainment enterprises.
Just imagine how you would function if everyday in all the important
years of your life you showed up for work and two-thirds of the
people you were working with thought that your outfit was going in
the wrong direction and nothing good could happen. (Laughter.)
Imagine what would happen if the National Gallery of Art were given
the most priceless collection of impressionist paintings uncovered
after having been thought destroyed for 50 years, and two-thirds of
the people said, I don't believe they're impressionist paintings.
(Laughter.) I know Monet -- he was a friend of mine. That's not
him. (Laughter.) Don't bother me with the facts. (Laughter.)
You're laughing because you know that it's true, don't you?
(Laughter.) There is a grain of truth in this. Somehow we have to
not sweep our problems under the rug and not sweep our differences
under the rug, for that is also what makes America great.
But we only find energy for dealing with our problems
and the heart and the hearing to deal with our differences when at
least we have a realistic appreciation of where we are, what we're
- 5 -
doing and where we're going. And I feel so good about the work we've
done to move America forward in the last 20 months, but we'd all have
to admit we've still got a lot of work to do in bringing America
together in giving our people a realistic feeling about where we are
in the world and where we're going. You can do that. You can make a
huge difference. The arts and humanities have always helped to do
that work.
So I urge you to continue in this work. I urge you to
make your progress report to me. I urge you to remember what we are
trying to do in our schools in helping to improve our children's
education with the arts and humanities. I urge you to work to expand
private philanthropy. We all know that the government in this
country provides a crucial measure, but only a tiny measure of the
support that the arts and humanities need.
I urge you to promote international cultural exchange
and understanding, not only because we need desperately to know more
about others throughout the world, but because I believe that we'll
learn a lot more about ourselves if we just come in contact with
people from other walks of life and other paths of the world.
Thanks to phones, faxes, internet, E-mail, CNN, we can
see the power of our cultural traditions as they are exported around
the world. And sometimes they come back to us. We had the only --
we're the first White House to communicate with huge numbers of
people from all over by E-mail. And I'm trying to do a sociological
analysis now of whether there's a difference between the E-mail
communication and the mail communication -- or the female
communication. (Laughter.)
I am very hopeful that you will make a remarkable
contribution to this country. I went over this list of people with
great care. I tried to get a very different group of people. I
tried to imagine all the different things that I hope that this
committee could deal with and all the different challenges I hope you
could assume. If I haven't done a good job, it's not your fault it's
mine in picking you, but I think you're pretty special.
Let me say in closing that I hope that in addition to
the schools, you can think about how we can increase access to the
arts and humanities all across America to people who might otherwise
be isolated from them -- people who are homebound, people who live in
very isolated areas, people who now don't even know how to speak the
language that would be necessary to ask for something that might
change their lives forever. I ask you also to think of that.
We've faced a lot of challenges as a country, but I'm
actually pretty optimistic about it based on the objective evidence.
What remains is whether we can develop a vision that will sustain us
as a people as we move through a period of change without a known big
enemy into an uncertain future. It requires courage, but courage
comes from having something inside that you can connect with what you
see outside.
You can help us as we work our way through this in this
remarkable time in our country's history. I hope you enjoy it. I
thank you for serving. And I thank you for being here today.
Thank you. (Applause.)
END
5:12 P.M. EDT
THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
June 6, 1995
Remarks by First Lady Hillary Rodham Clinton at
125th Anniversary of the Metropolitan
Museum of Art
New York City
MRS. CLINTON: Thank you. Thank you. Thank you, very much.
It is such a great honor and pleasure for me to join you this
evening. I am someone who is a great fan of this Museum and a
great fan of the Cantors.
And to have an occasion such as this where we celebrate both
is special. I want to add my word of thanks to this Museum and
to all of you who have supported it, nurtured it, loved it,
brought it to where it is today. I have just had an opportunity
to view the proposed new galleries, for the exhibition of the
collection of Greek and Roman art, as I was told, the finest
collection in the Western hemisphere.
And it is very exciting to see the plans for this and to
know what a contribution it will make to the continuing greatness
of the Museum. None of this would be possible without all of you
who have been patrons and supporters of this Museum. And
tonight, we honor two people who have been especially important.
Iris and Bernie have over the years stood behind so many
important causes in health care and education. And tonight, we
celebrate their contribution to the arts. What they have done by
their generosity has not only meant that literally millions of
people have been enhanced by their eye, their passion, their
commitment. But it has also, I believe, served to spur others to
be similarly generous with their own love of art.
For all we celebrate tonight, I must say, though, it is
something of a bittersweet moment, for those of us who care
deeply about the arts in our country. Because, there is, as you
know well, a movement underway to undermine the cultural
traditions that all of you in this room are upholding by your
presence tonight.
1
work
pm
They fail to appreciate what every generation of Americans
have intuitively known, that our artistic imagination is critical
to our civilization and our democracy So I hope that as we
think about this Museum tonight and the contribution of the
Cantors, we will think about ways that each of us can try to
continue the traditions represented. And we will think, too,
about all of the children two hundred to three hundred thousand
a year, who come to this Museum. The potential artists and
teachers and lovers and patrons of the arts of the future.
To make sure that their potential for appreciating what we
have today, thanks to the partnership between public and private
lovers of the art; will always be there. Yes, we have hard
decisions to make in America; yes, they are challenging. But let
us remember what really lies at the root of greatness as a people
-investing in our future, caring about the best of our
traditions. And let's not turn our back on that kind of legacy.
With your help, your generosity, your energy and your
commitment, I don't think we will, but I know this is a
challenging time. I personally wanted to be here this evening to
thank the Cantors, to thank the Museum and to thank all of you
for standing up on behalf of the arts in America. Thank you all.
(Applause)
###
3
On the occasion
of the presentation of the
DUKE ELLINGTON SCHOOL
OF THE ARTS
NATIONAL MEDAL OF ARTS
Jazz Ensemble
and
Show Choir
THE CHARLES FRANKEL PRIZE AWARDS
Performing at the White House Entrance
AND
and South Lawn
PRESIDENTIAL CITIZENS MEDAL
&
We are a nation called to artistic and intellectual re-
sponsibility at a critical time in the history of the
National Arts and Humanities Month
world. Our major authors are read in every language,
our films are shown in every capital, and our music
October 1993
never lacks listeners. Our traditions of free inquiry and
expression help to shape political attitudes and cul-
The moral strength of our great nation is rooted in
tural values around the globe.
our rich cultural traditions and in a profound appreci-
As we become an increasingly diverse society, the
ation for the diversity of the people, values, and beliefs
arts and humanities will help us deepen our under-
that make us Americans. For more than 200 years, the
standing of one another, honor our differences, and cel-
quality of our civic life has flowed not only from our
ebrate our shared experiences and values as Americans.
industrial, agricultural, and technological ingenuity,
The month of October has been designated as Na-
but also from the creative vision of our artists and the
tional Arts and Humanities Month. I urge all Ameri-
wisdom of our humanists.
cans to join me in recognizing the special role the arts
Through the arts and humanities we gain a deeper
and humanities play in fortifying our unique heritage.
understanding of ourselves as individuals and as a so-
National Arts and Humanities Month is a time when
ciety. The arts and humanities remind us that whatever
we recognize the contributions of artists, scholars, ти-
our differences, we share a common heritage that binds
seums, theaters, libraries, schools, foundations, govern-
us together as a nation.
ment agencies, and other organizations and individuals
Music, painting, sculpture, architecture, dance, the-
who work to keep the arts and humanities a vital part
ater, film, and the folk arts all awaken our minds and
of our lives. Throughout the month of October, let us
our senses. They allow us to express our emotions, im-
reflect on the breadth of artistic and humanistic en-
pressions, and attitudes about the human condition
deavors that blossom freely across our nation, and let
and the human experience.
us rejoice in the eloquence and meaning they give to our
History, literature, and philosophy allow us to ex-
ideas, hopes, and dreams as American citizens.
plore and understand ourselves and others through col-
On this occasion, I voice my deep respect and pledge
lective reflection and learning.
my continuing support for the arts and humanities as
The arts and humanities enable Americans from
essential ingredients of our American way of life. I look
every walk of life to respond to both their individual-
forward to celebrating National Arts and Humanities
ity and their shared experiences in ways that make the
Month this October at the White House and with you in
human spirit soar.
your communities throughout the United States.
Biu Clinton
THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
June 6, 1995
Remarks by
First Lady Hillary Rodham Clinton
at the 125th Anniversary Celebration of the
Metropolitan Museum of Art
New York, New York
MRS. CLINTON: Thank you. Thank you. Thank you, very much.
It is such a great honor and pleasure for me to join you this
evening. I am someone who is a great fan of this Museum and a
great fan of the Cantors.
And to have an occasion such as this where we celebrate both
is special. I want to add my word of thanks to this Museum and
to all of you who have supported it, nurtured it, loved it,
brought it to where it is today. I have just had an opportunity
to view the proposed new galleries, for the exhibition of the
collection of Greek and Roman art, as I was told, the finest
collection in the Western hemisphere.
And it is very exciting to see the plans for this and to
know what a contribution it will make to the continuing greatness
of the Museum. None of this would be possible without all of you
who have been patrons and supporters of this Museum. And
tonight, we honor two people who have been especially important.
Iris and Bernie have over the years stood behind so many
important causes in health care and education. And tonight, we
celebrate their contribution to the arts. What they have done by
their generosity has not only meant that literally millions of
people have been enhanced by their eye, their passion, their
commitment. But it has also, I believe, served to spur others to
be similarly generous with their own love of art.
For all we celebrate tonight, I must say, though, it is
something of a bittersweet moment, for those of us who care
deeply about the arts in our country. Because, there is, as you
know well, a movement underway to undermine the cultural
traditions that all of you in this room are upholding by your
presence tonight.
1
It is sad, that there are those among us who do not
appreciate what this Museum represents - what it stands for. And
who more than that, do not understand that our democracy depends
upon culture. We are witnessing a full-scale assault on public
support of the arts which in many ways is misguided and
misinformed. One of the great accomplishments of the arts in
America, is that it truly has become part of the public domain.
Accessible to all, firing the imaginations of all. I was
told that Bernie saw his first Rodin here in 1945 and look where
it has led. There is a proud tradition in our country of both
private and public support - a unique partnership unlike what
exists in many other countries not only in modern times but going
back through history. Where art was either the domain of the
public or of the private. But instead, in America there has been
this marriage.
And that is thanks, in large part, to far-sighted people,
like yourselves in both the public and the private sector. The
NEA has helped to bring art to millions of Americans who would
not have otherwise enjoyed it.
It has supported artists and teachers, students, men, women
and children, whose daily lives have been transformed by their
exposure to great art. And I would like to thank Bill Lures and
the trustees, and the members of the business committee and all
of you who have raised your voices in the last months on behalf
of public support for the arts. I hope you will continue to do
so because we cannot afford to retreat from that commitment.
I would argue strongly, that, contrary to what some say,
"Public support for the arts is a luxury we can no longer
afford," that it is, instead, a necessity for the continuing
strength and vitality of our community of culture in this
country.
It is particularly ironic that those who bemoan the loss of
civility and character and the loss of values in America are the
first to recommend obliterating the federal agencies, in many
ways cutting back on state and local support, responsible for
promoting our cultural traditions.
For example, the Greek and Roman exhibition that is being
worked on now, for those who at one hand, claim they support our
Western traditions and Western civilization but who on the other
hand would not support the kind of exhibition that would bring to
life those very traditions and roots; are living, in my view, a
very ironic way of demanding we do what they say, without
recognizing how important it is to give other people the chance
to have the same experience that they have had.
2
They fail to appreciate what every generation of Americans
have intuitively known, that our artistic imagination is critical
to our civilization and our democracy. So I hope that, as we
think about this Museum tonight. and the contribution of the
Cantors, we will think about ways that each of us can try to
continue the traditions represented. And we will think, too,
about all of the children, two hundred to three hundred thousand
a year, who come to this Museum. The potential artists and
teachers and lovers and patrons of the arts of the future.
To make sure that their potential for appreciating what we
have today, thanks to the partnership between public and private
lovers of the art; will always be there. Yes, we have hard
decisions to make in America; yes, they are challenging. But let
us remember what really lies at the root of greatness as a people
-investing in our future, caring about the best of our
traditions. And let's not turn our back on that kind of legacy.
with your help, your generosity, your energy and your
commitment, I don't think we will, but I know this is a
challenging time. I personally wanted to be here this evening to
thank the Cantors, to thank the Museum' and to thank all of you
for standing up on behalf of the arts in America. Thank you all.
(Applause)
###
3
file
THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
October 13, 1994
THE PRESIDENT AND FIRST LADY HONOR THREE MUSEUMS FOR THEIR
PUBLIC SERVICE WORK
The President and First Lady today recognized three museums for their
outstanding work in our nation's communities. In a ceremony at the White House, the
First Lady presented the National Award for Museum Service to the Brukner Nature
Center in Troy, Ohio; the Cummer Museum of Art and Gardens in Jacksonville, Florida;
and the Missouri Historical Society in St. Louis, Missouri.
"This national honor is a tribute to the power of museums to engage children,
families and communities, in towns and cities all across America," said the President.
Added the First Lady, "These museums use the wealth of their collections and
scholarly expertise to address real community concerns. We celebrate their impressive
achievements and extend our deepest thanks for their success in using history, science,
and art to effect positive change."
The National Award for Museum Service honors museums that demonstrate an
institutional commitment to public service with innovative programs that address
educational, social, economic or environmental issues. This award marks the first time
that a national award will recognize museums that are central to the life of their
communities.
Today's recipients were selected by the Institute of Museum Services and the
National Museum Services Board from over 60 nominations. The Institute of Museum
Services is an independent agency established to increase and improve museum services.
The Institute makes grants to all types of museums, urban and rural, throughout the
United States.
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THE WHITE HOUSE
Office of the Press Secretary
FOR IMMEDIATE RELEASE
October 11, 1994
Remarks by the First Lady
At Reception for the opening of 20th-Century Sculpture Exhibit
The First Ladies' Garden
Good afternoon. Welcome. Welcome to the White House and
welcome to this garden. I am particularly pleased that this
event could be held during October, which is Arts and Humanities
Month, and that so many of you who are such strong advocates and
supporters of the arts and humanities could join us here this
afternoon. There are many people whom I wish to thank and will
do so toward the end of my remarks because it is an unusually
large number of people who have contributed to this occasion.
Sculpture, has been one of my favorite art forms ever since
I was a young girl. And not simply, as lore might have it,
because my first date with my husband was in the sculpture garden
of the Yale Gallery, but because of the way it spoke to me and
what it has always meant to me.
I know that all of you believe, as I do, that art has the
capacity to provoke our imaginations. And I believe where there
is imagination there is hope, and where there is creative
expression there is potential for human progress. And hope and
progress are concepts and ideals that are as important to us
today as they always have been in the history of our country.
Looking at the wonderful pieces that have been assembled in
this garden, we can see the variety and diversity and richness of
contemporary American sculpture. And we can also see reflections
of ourselves and our society over the last one hundred years.
The idea for this exhibition was inspired, in part, by First
Lady Jacqueline Kennedy Onassis. My brief, much too brief
friendship with her, left as indelible impression on me as she
did on the lives of so many. And of course, this garden, which
is the Jacqueline Kennedy Garden, is a lasting, living tribute to
the extraordinary contributions she made to the White House.
Now some of our finest American artists and their art will
be available to an entirely new audience. The thousands of
visitors who pass through the White House each day will be able
to look out the Colonnade windows and will be able to share in
the aesthetic beauty and the emotional power of these sculptures.
That is extremely important to the President and myself.
We believe that art is not a marginal part of society, is
not a luxury, but that it has such extraordinary power and is
centered in our personal and collective experiences. Art
therefore should be as accessible to as many people as possible.
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I have been lucky in my own life to live in places where
great art was close at hand. I grew up in Chicago, I went to
college in Boston, I was in law school at Yale and was always
exposed to the museums, galleries and other places where art
thrived. And it was in New Haven that I first saw works of some
of the sculptors represented here today.
I also want this exhibition to celebrate the artists
themselves. Most of us don't have the courage it takes to be an
artist. The courage to unveil one's most profound emotions and
visions to outside scrutiny. By sharing their feelings and their
ideas with us, these artists not only add beauty to our
surroundings here and around our country, they keep us from
becoming too sedate, too numb, too inured to the complexities and
the challenges of life. So on behalf of the President and
myself, I would like to thank all of the artists--not only those
represented here, but those throughout our country who contribute
so much to the richness of our culture. I would like to thank
the supporters of art and artists who help insure that art
reaches more and more of our people.
And I would like to thank all Americans for allowing us to
display this exhibit in the White House, which is in fact the
only home of a head of state anywhere in the world that does have
tourists come in nearly every day. And we have now increased so
dramatically the numbers of tourists, that there will be, in the
months that this exhibit is on display, nearly a million people
who will see this, in this garden for the first time.
I would like to thank particularly the people who have made
this exhibit possible and I'd like to start with George Neubert,
the curator of this exhibit and the Director of the Sheldon
Memorial Art Gallery and Sculpture Garden at the University of
Nebraska, at Lincoln. He has been an extraordinary help and
guide to this entire project and we are very grateful. I would
also like thank Dr. Graham Spanier, the Chancellor of the
University of Nebraska, for giving George Neubert and the Sheldon
Art Gallery staff the time to work on this exhibit.
I also want to thank our dear friends from the Iris and B.
Gerald Cantor Foundation, whose generosity helped make this
possible. And the Cantors have been such great friends, not only
of art and sculpture through the years, but of the President and
mine and we are very grateful for your being here and seeing this
come to fruition.
I'd also like to thank my friend, J. Carter Brown, who
worked diligently to take a concept and bring it to this
wonderful reality and also to wish him a belated happy birthday,
which he spent here at the installation in the sculpture garden
on Saturday.
And some of the artists whose works are represented in this
exhibit are with us today. We thank, Richard Hunt, Bryan Hunt,
Ellsworth Kelly and George Segal, without whose artistry we would
not be here celebrating this great occasion.
And those lending institutions from my part of the country,
the Mid West, who have lent their treasures: the Sheldon
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Memorial Art Gallery and Sculpture Garden, the Washington
University Gallery of Art, the Akron Art Museum, the Museum of
Contemporary Art in Chicago and the Art Institute of Chicago,
the Milwaukee Art Museum, the Minnesota Museum of American Art,
the Laumeler Sculpture Park and Museum in St. Louis, the Columbus
Museum of Art in Columbus, Ohio, and the Walker Art Center in
Minneapolis. I am particular pleased that all of these
institutions could have contributed to this exhibit and that we
can say to all who ask how proud we are that these institutions
are a part of this White House first for us.
I also particularly want to thank and ask to stand as a
group, the members of the White House Preservation Committee and
the White House Historical Association, if you all would stand
because certainly we could not do any of this without your help.
Thank you all very much. I also want particularly to thank Rex
Scouten, the Curator of the White House, who knows everything
that happens here and ever did happen here. And Sylvia Williams,
from the Smithsonian who is the President of the Association of
Art Museum Directors who helped make this exhibit possible. And
really to thank all of you for caring about this wonderful house
and for caring about art.
It has been a real pleasure for both the President and me
during the months we've been privileged to live here, to explore
the nooks and crannies and to study with great interest and
delight the wonderful book, Art in the White House, to uncover
many of the treasures that are here and to try to add to the
impact that the White House can bring to the art and culture of
our times. So with that, let me say thank you and please join me
for a reception up on the State Floor. Thank you all very much.
First Lady Hillary Rodham Clinton
Remarks Saluting Mstislav Rostropovich
Good evening. I am so delighted, Maestro, to be able to join
with your legions of admirers to salute your remarkable career,
and most especially this evening, your contributions as music
director of our National Symphony Orchestra.
Our gratitude to you is boundless. As conductor, cellist,
pianist, outspoken defender of human rights, and an esteemed
citizen of the world, you have enriched our lives immeasurably,
challenged our perceptions, and uplifted our spirits.
Under your distinguished leadership, the NSO is a national
treasure and, indeed, has secured its place as one of America's
most important orchestras.
We thank you for all you have done, for all you continue to do,
and for all that you are.
The President and I so deeply regret that we are unable to be
with you this evening for what we know will be a very special
"Salute to Slava." It is so fitting that during this week of
celebration, you were able to grace us at the White House with a
special performance at the State Dinner.
The President joins me in wishing you all God's blessing.