Former President George W. Bush has embraced a new phase of his artistic journey with his latest exhibition titled “A Shining City on the Hilltop.”
This showcase features 35 acrylic paintings that highlight the vibrant life at Southern Methodist University (SMU), marking a shift in Bush’s artistic expression following his presidency.
While his earlier works mostly focused on themes of public life, including portraits of world leaders and military veterans, these new pieces take a more personal approach, reflecting his connection to North Texas rather than the political landscape of Washington, D.C.
The exhibition is presented in an unexpectedly casual manner.
Visitors enter the George W. Bush Presidential Center through a striking limestone façade, designed by Robert A.M. Stern Architects, reminiscent of the monumental public buildings from the FDR era.
After passing through security, the viewer encounters Bush’s paintings on temporary, folding display stands strewn throughout the lobby and a nearby hallway.
This juxtaposition creates a stark contrast; while the building’s design aims for grandeur, the art is displayed with a friendly informality, as if inviting visitors to engage with it on a more personal level.
Bush’s unpretentious style resonates with many, a trait that he carried into his political career.
During the 2000 presidential campaign, he famously appealed to voters by embodying the idea of a relatable candidate—responding to the question of whom they would prefer to share a drink with favorably over his opponent Al Gore.
Bush’s casual approach to art mirrors this same relatability, as he presents his work modestly, showing enthusiasm without claiming extraordinary artistic prowess.
A key component of this exhibition is the vibrant use of color.
Bush’s paintings burst with shades of purple, orange, pink, and reflect the spirited hues associated with the SMU Mustangs.
These lively depictions seem to evoke a landscape more akin to New Mexico than the typical muted tones of North Texas.
The artwork portrays the SMU campus as an idyllic community where students and visitors enjoy nature, read on benches, walk their dogs, admire art, and partake in campus events.
Such representations can illustrate why parents willingly invest substantial sums, upwards of $93,000 a year, to send their children to SMU.
The campus depicted in Bush’s art appears insulated and inviting, standing in stark contrast to the challenges that often accompany urban life in Dallas.
The title of the exhibition, however, invokes a deeper message than mere leisure.
The phrase “city upon a hill,” originating from the Bible, serves as a recurring theme in American political rhetoric, symbolizing an idealistic vision of national purpose, which nicely aligns with the sentiments of higher learning and public service.
This theme resonates in a painting that commemorates the 2013 dedication of the Bush Center, where Bush shared the stage with fellow Presidents, emphasizing unity and the importance of values like freedom and leadership.
However, the exhibition also highlights a cultural shift evident in the attire of the individuals depicted in the paintings.
The casual dress—cargo shorts, baggy t-shirts, and Teva sandals—could be seen as a reflection of American society in the 2020s.
It raises a question about the level of decorum in public presentation today, presenting a stark comparison to more formal past eras.
Despite some critiques regarding the artistry itself, with Bush’s figures appearing somewhat stiff compared to his earlier works, the exhibition carries an emotional weight.
The paintings serve as a visual diary, offering insights into a leader’s reflections about life post-presidency.
Art enthusiasts may recall the works of renowned diarists and artists whose unfinished pieces reveal intricate details of their thoughts and observations.
Through this lens, viewers can appreciate Bush’s paintings not only for their technical execution but more so for their capacity to provide a glimpse into the artist’s perspective as shaped by his experiences.
As time passes, the significance of Bush’s presidency may fade from the forefront of public consciousness, yet these paintings provide a bridge to the past.
Younger generations, who may not have firsthand memories of Bush’s time in office, might find themselves curious about the man and his role in shaping contemporary history.
For older audiences, this exhibition offers a thoughtful look at a figure who transitioned from one of the highest offices in the land to a life characterized by personal reflection and artistry.
Ultimately, “A Shining City on the Hilltop” is more than just an art exhibit.
It is an invitation to engage with the life and reflections of a former president, rendered through a lens of sincerity and local charm.
Details about the exhibition are available for those wishing to experience it firsthand.
The exhibition is on view through October 19 at the George W. Bush Presidential Center, located at 2943 SMU Blvd., Dallas.
Open Monday through Saturday from 9 a.m. to 5 p.m. and Sunday from noon to 5 p.m., ticket prices vary, with adults paying $26 and discounts available for students.
For more information, visitors can call 214-200-4300 or visit bushcenter.org.
image source from：https://www.keranews.org/arts-culture/2025-06-16/review-george-w-bush-paints-a-colorful-portrait-of-smu-in-new-exhibition
