The following is a transcript excerpt from Dr. Jordan Peterson’s <a href="https://www.dailywire.com/episode/1-introduction-to-the-idea-of-god-new" target="_blank" rel="noopener">Biblical Series</a>, which explores the psychological significance of the Bible. In <a href="https://www.youtube.com/watch?v=ZNIC-GZzj48" target="_blank" rel="noopener">this segment</a>, he addresses the complex and powerful nature of dreams, comparing it to artists’ talent at portraying more information than has yet to be articulated. He considers the questions: Where does information in a dream come from? What draws us to music? How long have humans been observing each other? And, the eternal question of human beings: How do you live in the world? You can explore more in Dr. Peterson’s <a href="https://www.dailywire.com/watch/jordan-peterson" target="_blank" rel="noopener">extensive catalog</a>, available on DailyWire+. 
I think the theory that dreams are merely the consequence of random neuronal firing is absolutely absurd because there is nothing random about dreams. They are structured and complex, and they are not like snow on a television screen or static on a radio. They are complicated. I have often seen people have very coherent dreams that have a perfect narrative structure. They are fully developed in some sense. So, that theory just does not go anywhere with me. I cannot see that as useful at all. I am more likely to take the phenomena seriously and say there is something to dreams.
You dream of the future; then you try to make it into a reality. That seems to be important. Or maybe you dream up a nightmare and try to make that into a reality; people do that too if they are hellbent on revenge, for example, and full of hatred and resentment. That manifests itself in terrible fantasies. Those are dreams; then people go act them out. These things are powerful. Whole nations can get caught up in collective dreams. That is what happened to Nazi Germany in the 1930s. It is an absolutely remarkable, amazing, horrific, destructive spectacle. The same thing happened in the Soviet Union. And the same thing happened in China. We have to take these seriously and try to understand what is going on.
Carl Jung believed that dreams could contain more information than was yet articulate. I think artists do the same. People go to museums, and they look at paintings — Renaissance paintings or modern paintings — and they do not exactly know why they are there. I was in a room in New York full of Renaissance art, the greatest painters. I thought maybe that room was worth a billion dollars or something outrageous because there were about 20 paintings in there. Priceless. Why are those paintings worth so much? And why is there a museum in the biggest city in the world devoted to them? And why do people from all over the world come and look at them? What are those people doing? One of them was of the assumption of Mary — a beautifully painted, absolutely glowing work of art — with 20 people standing in front of it looking at it. What are those people up to? They do not know. Why did they make a pilgrimage to New York to come and look at that painting? It is not like they know. Why is it worth so much? I know there is a status element to it too, but that begs the question, why do those items become such high-status items? What is it about them that is so absolutely remarkable? We are strange creatures.
I was trying to figure out, in part, where does the information that is in a dream come from? Because it has to come from somewhere. You can think about it as a revelation because it is as though it springs out of the void, and it is new knowledge and it is a revelation. You did not produce it. It just appears. I am scientifically minded, and I am quite a rational person, and I like to have an explanation for things that is rational and empirical before I look for any other kind of explanation. I do not want to say that everything that is associated with divinity can be reduced in some manner to biology or to evolutionary history or anything like that, but, insofar as it is possible to do that reduction, I am going to do that. And I am going to leave the other phenomena floating in the air because they cannot be pinned down. In that, I would put the category of mystical or religious experience, which we do not understand at all.
<h4><a href="https://www.dailywire.com/show/the-jordan-b-peterson-podcast" target="_blank" rel="noopener">WATCH: The Jordan B. Peterson Podcast on DailyWire+</a></h4>
Artists observe one another. They observe people, and they represent what they see. They transmit a message of what they see to us, and they teach us to see. We do not necessarily know what it is we are learning from them, but we are learning something, or, at least, we are acting like we are learning something. We go to movies, we watch stories, and we immerse ourselves in fiction constantly. That is an artistic production. For many people, the world of the arts is a living world, and that is particularly true if you are a creative person. It is the creative, artistic people who move the knowledge of humanity forward, and they do that with their artistic productions first. They are on the edge. The dancers, the poets, the visual artists, and the musicians do that, and we are not sure what they are doing.
Why do you like music? It gives you a deep intimation of the significance of things — and no one questions it. You go to a concert, you are thrilled, and it is a quasi-religious experience, particularly if people really get themselves together and get the crowd moving. There is something incredibly intense about it. It makes no sense whatsoever. It is not an easy thing to understand. Music is deeply patterned, and patterned in layers, and I think that has something to do with it because reality is patterned in layers. So I think music represents reality in some fundamental way, and we get into the sway of that and sort of participate in being. That is part of what makes it such an uplifting experience. But we do not really know that is what we are doing. We just go do it. And it is nourishing for people, young people in particular. Lots of them live for music. It is where they derive all their meaning, their cultural identity, everything that is nourishing comes from their affiliation with their music that is part of their cultural identity. That is an amazing thing.
The question still remains: Where does the information in dreams come from? I think it comes from watching the patterns everyone acts out. We watch that forever, and we have some representations of those patterns. That is part of our cultural history; that is what is embedded in stories, in fictional accounts of the story between good and evil, the bad guy and the good guy, the romance. These are canonical patterns of being for people, and they deeply affect us because they represent what it is we will act out in the world. Then we flesh that out with the individual information we have about ourselves and other people. It is as though there are waves of behavioral patterns that manifest themselves in the crowd across time, that great dramas are played on the crowd across time. The artists watch that, get intimations of what that is, and they write it down and tell us, and then we are a little clearer about what we are up to.
Take, for example, a great dramatist like Shakespeare. We know what he wrote is fiction, and then we say fiction is not true. But then you think, well wait a minute, maybe it is true like numbers are true. Numbers are an abstraction from the underlying reality, but no one in their right mind would really think numbers are not true. You could even make a case that the numbers are more real than the things they represent because the abstraction is so insanely powerful. Once you have mathematics, you are just deadly. You can move the world with mathematics. So, it is not obvious that the abstraction is less real than the more concrete reality. But if you take a work of fiction, like Hamlet, and say it is true because it is fiction, then you think, wait a minute, what kind of explanation is that? But maybe it is more true than nonfiction because it takes the story that needs to be told about you, and it extracts that out and says, “Look, here is something that is a key part of the human experience as such.” It is an abstraction from this underlying noisy substrate, and people are affected by it because they see the thing that is represented is part of the pattern of their being. That is the right way to think about it.
With these old stories, these ancient stories, it seems to me that process has been occurring for thousands of years. It is like we watched ourselves, and we extracted out some stories. We imitated each other, we represented that in drama, and then we distilled the drama, we got a representation of the distillation, and then we did it again at the end of that process. God only knows how long that took. They have traced some fairytales back 10,000 years in relatively unchanged form, and it certainly seems to me that the archaeological evidence suggests that the really old stories the Bible begins with are at least that old and likely embedded in the pre-history that is far older than that. You might think, well, how can you be so sure? The answer to that, in part is, cultures that do not change, like the ancient cultures, did not change as fast; they stayed the same. That is the answer. They keep their information moving generation to generation; that is how they stayed the same. We know again in the archaeological record there are records of rituals that have remained relatively unbroken for up to 20,000 years; it was discovered in caves of Japan that were set up for a particular kind of bear worship that was also characteristic of Western Europe. So these things can last for very long periods of time.
We are watching each other act in the world, and the question is: How long have we been watching each other? The answer to that, in some sense is, as long as there have been creatures with nervous systems. That is a long time. That is some hundreds of millions of years, perhaps longer than that, that we have been watching each other trying to figure out what we are up to across that entire span of time. Some of that knowledge is built right into our bodies, which is why we can dance with each other, for example, because understanding is not just something that you have as an abstraction; it is something that you act out. That is what children are doing when they are learning to rough and tumble play. They are learning to integrate their body with the body of someone else in a harmonious way, learning to cooperate and compete. That is all instantiated right into their body. It is not abstract knowledge; they do not know that they are doing that. They are just doing it. We can even use our body as a representational platform. So, we have been studying each other for a long time, abstracting out what it is that we are up to.
What should we be up to? That is an even more fundamental question. If you are going to live in the world, and you are going to do it properly, what does properly mean and who is it that you might go to about that? That is the right question. It is what everyone wants to know. How do you live in the world? Not, what is the world made of? How do you live in the world? It is the eternal question of human beings, and I guess we are the only species that has ever really asked that question because all the other animals just go and do whatever they do. But not us. It is a question for us. 
* * *
To continue, listen or watch more content with Dr. Jordan Peterson on <a href="https://www.dailywire.com/watch" target="_blank" rel="noopener">DailyWire+</a>.
<a href="https://www.jordanbpeterson.com/" target="_blank" rel="noopener">Dr. Jordan B. Peterson</a> is a clinical psychologist and professor emeritus at the University of Toronto. From 1993 to 1998 he served as assistant and then associate professor of psychology at Harvard. He is the international bestselling author of “<a href="https://www.amazon.com/Maps-Meaning-Architecture-Jordan-Peterson/dp/0415922216/ref=tmm_hrd_swatch_0?_encoding=UTF8&amp;qid=&amp;sr=" target="_blank" rel="noopener">Maps of Meaning</a>,” “<a href="https://www.amazon.com/12-Rules-Life-Antidote-Chaos/dp/0345816021/ref=tmm_hrd_swatch_0?_encoding=UTF8&amp;qid=&amp;sr=" target="_blank" rel="noopener">12 Rules For Life,</a>” and “<a href="https://www.amazon.com/Beyond-Order-More-Rules-Life/dp/0593084640/ref=tmm_hrd_swatch_0?_encoding=UTF8&amp;dib_tag=AUTHOR&amp;dib=eyJ2IjoiMSJ9.nbV0WtVit9busCddbjMST-Oe7hjueQrxfqnQ4L3HXXUFdIaqlEBr0sp9HQWIq9ut9NlHDAFA0YQoDWVZfDtKNJI7VvlzWv2rMhs2KcAAIIppPRMWq4GIiFerkrssvBABAjeKlg3OFs3H8IHs5D8ktJ5uBg3K-SZ4hpKltaKkrhY6j-RKn-tTkBz29JZXP3Rhm9SB14rHUX1nol5d4z4Fi6f8fwhxXWCVGgkvOHSqG6E.iVF1NljuBEwrpumO9rQBh9FotnzaIo4K7K8HvNnC46k&amp;qid=&amp;sr=" target="_blank" rel="noopener">Beyond Order.</a>” You can now <a href="https://www.dailywire.com/podcasts/the-jordan-b-peterson-podcast" target="_blank" rel="noopener">listen to</a> or <a href="https://www.dailywire.com/watch/jordan-peterson" target="_blank" rel="noopener">watch</a> his popular lectures on DailyWire+.
Be sure to <a href="https://www.amazon.com/Who-Wrestle-God-Jordan-Peterson/dp/0593542533/?_encoding=UTF8&amp;pd_rd_w=38kcw&amp;content-id=amzn1.sym.f911c8db-3a2b-4b3e-952f-b80fdcee83f4&amp;pf_rd_p=f911c8db-3a2b-4b3e-952f-b80fdcee83f4&amp;pf_rd_r=133-1833056-3520340&amp;pd_rd_wg=3zvBk&amp;pd_rd_r=93a1419a-853b-4c49-a764-cbaa90d3073a&amp;ref_=aufs_ap_sc_dsk" target="_blank" rel="noopener">PRE-ORDER</a> Dr. Peterson’s newest book: “<a href="https://www.amazon.com/Who-Wrestle-God-Jordan-Peterson/dp/0593542533/?_encoding=UTF8&amp;pd_rd_w=38kcw&amp;content-id=amzn1.sym.f911c8db-3a2b-4b3e-952f-b80fdcee83f4&amp;pf_rd_p=f911c8db-3a2b-4b3e-952f-b80fdcee83f4&amp;pf_rd_r=133-1833056-3520340&amp;pd_rd_wg=3zvBk&amp;pd_rd_r=93a1419a-853b-4c49-a764-cbaa90d3073a&amp;ref_=aufs_ap_sc_dsk" target="_blank" rel="noopener">We Who Wrestle with God</a>” (Portfolio/Penguin. November 19, 2024.)

Dr. Jordan B. Peterson

The Eternal Question Of Human Beings: How Do You Live In The World? 

Carl Jung

Jordan B. Peterson

Music

Psychology

Readers Pass

Shakespeare

An art piece based on <a href="https://www.dailywire.com/topic/justin-timberlake">Justin Timberlake</a>’s mugshot is on display in the same Hamptons town where he was arrested for a DWI last month.
The 43-year-old singer’s mugshot inspired a limited-edition <a href="https://www.dailywire.com/topic/arts">art piece</a> shown at the Romany Kramoris Gallery in Sag Harbor, <a href="https://www.dailywire.com/topic/new-york">New York</a>. The new installation, reportedly available for purchase in several colors, comes courtesy of artist Godfrey Lohman. A report from <a href="https://pagesix.com/2024/07/02/entertainment/justin-timberlake-mugshot-is-art-at-sag-harbor-gallery-happy/">Page Six</a> noted that tourists have been lining up to catch a glimpse of the piece.
“My reaction was, ‘Oh my God!’ That’s great! It’s just great!” gallery owner Romany Kramoris told Page Six. The so-called “Queen of Sag Harbor” also mentioned that the gallery had sold “two or three” of the art pieces, which cost $520 each. Kramoris added that “a lot of people are coming back.” 
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Justin Timberlake’s mugshot turned into art at Sag Harbor gallery after Hamptons DWI bust <a href="https://t.co/ag37JMtduV">https://t.co/ag37JMtduV</a> <a href="https://t.co/8niBDtOkL3">pic.twitter.com/8niBDtOkL3</a>
— Page Six (@PageSix) <a href="https://twitter.com/PageSix/status/1808267195383697699?ref_src=twsrc%5Etfw">July 2, 2024</a></blockquote>
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“[Timberlake’s mugshot] is our most contemporary piece! It’s au courant,” another gallery employee told the outlet.
Timberlake was charged with one count of driving while intoxicated and two citations, including one for running a stop sign and another for failure to keep in lane, in the early hours of June 18.  
A police report obtained by <a href="https://people.com/justin-timberlake-had-one-martini-when-pulled-over-refused-breathalyzer-police-report-8665607">People magazine</a> noted that the pop singer’s &#8220;eyes were bloodshot and glassy, a strong odor of an alcoholic beverage was emanating from his breath, he was unable to divide attention, he had slowed speech, he was unsteady afoot and he performed poorly on all standardized field sobriety tests.&#8221; 
He also refused to take a breathalyzer test.
Documents also said Timberlake claimed, “I had one martini and I followed my friends home.”
According to reports, the young arresting officer did not recognize Timberlake as a celebrity.
“He didn’t recognize him or his name,” the source said. Another witness claimed, “Justin said under his breath, ‘This is going to ruin the tour.’ The cop replied, ‘What tour?’ Justin said, ‘The world tour.’”
Timberlake’s court appearance is currently set for July 26, when he’s scheduled to perform on his Forget Tomorrow World Tour stop in Poland. The “Cry Me a River” singer also has tour dates in the U.S. later this month.

Justin Timberlake

Justin Timberlake’s Mugshot Inspired A Portrait On Display In Hamptons Art Gallery

Art Based On Justin Timberlake's Mugshot Displayed In Hamptons Gallery 

Celebrities

New York

U.S.

A new <a href="https://www.dailywire.com/topic/arts" target="_blank" rel="noopener">portrait</a> of <a href="https://www.dailywire.com/topic/kate-middleton" target="_blank" rel="noopener">Kate Middleton</a>, Princess of Wales, is causing a stir and getting mostly negative reactions online.
The painting was commissioned by the <a href="https://www.dailywire.com/topic/united-kingdom" target="_blank" rel="noopener">British</a> outlet Tatler and graces the cover of their new July issue. It was created by British-Zambian artist Hanna Uzor. The portrait depicts Catherine during her appearance at the first state banquet of King Charles III’s reign.
“The July cover of the <a href="https://www.dailywire.com/topic/royal-family">Princess of Wales</a> is the latest in a series of portraits commissioned by Tatler. Each has heralded a new era within the Royal Family, celebrating the strength and dignity of those dedicating their life to public duty,” the magazine’s X post of the image said.
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The July cover of the Princess of Wales is the latest in a series of portraits commissioned by Tatler. Each has heralded a new era within the Royal Family, celebrating the strength and dignity of those dedicating their life to public duty <a href="https://t.co/AyxCT262tY">https://t.co/AyxCT262tY</a> <a href="https://t.co/M6K44s60GJ">pic.twitter.com/M6K44s60GJ</a>
— Tatler (@Tatlermagazine) <a href="https://twitter.com/Tatlermagazine/status/1793220299636301863?ref_src=twsrc%5Etfw">May 22, 2024</a></blockquote>
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Uzor never met the princess, but said she used photos and videos to create the painting. 
“When you can’t meet the sitter in person, you have to look at everything you can find and piece together the subtle human moments revealed in different photographs: do they have a particular way of standing or holding their head or hands? Do they have a recurrent gesture?,” the artist said in a statement, per <a href="https://www.cnn.com/2024/05/23/style/catherine-princess-wales-tatler-scli-intl/index.html" target="_blank" rel="noopener">CNN</a>. 
“All my portraits are made up of layers of a personality, constructed from everything I can find about them,” Uzor added.
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Online critics were not impressed with the final result, calling it terrible to the point of being disrespectful to the Princess of Wales.
“This is dreadful &#8211; somehow, I’m not sure the artist is a fan of the Princess &#8211; it looks like a bad GCSE [high school] project,” one commenter on X wrote.
<a href="https://onelink.to/dwapp" target="_blank" rel="noopener noreferrer" aria-describedby="sk-tooltip-9096" data-saferedirecturl="https://www.google.com/url?q=https://onelink.to/dwapp&amp;source=gmail&amp;ust=1716488494520000&amp;usg=AOvVaw2dyxfpdB0XAtZIqaVVdwYr">CLICK HERE TO GET THE DAILYWIRE+ APP</a>
“This looks nothing like the Princess of Wales. It’s so awful, it’s disrespectful,” another person echoed.
A third commenter <a href="https://x.com/CatherineInFL/status/1793342807802790089" target="_blank" rel="noopener">wrote</a>, “This is shockingly bad. Was the intention to erase the Princess of Wales and replace her with a pretend person? The disrespect to the Princess shouldn&#8217;t be acceptable.”
The new royal family portrait comes just after royal fans responded negatively to an official portrait of King Charles III, which was revealed earlier this month, as The Daily Wire previously <a href="https://www.dailywire.com/news/first-portrait-of-king-charles-iii-mocked-on-social-media-looks-like-hes-going-straight-to-hell" target="_blank" rel="noopener">reported</a>. The 8.5 by 6.5-foot painting by British artist Jonathan Yeo included a bold red background.
“It looks like he’s bathing in blood,” one popular Instagram comment said of the king&#8217;s portrait.
“Looks like he’s going straight to hell,” another royal follower agreed.

Kate Middleton

‘Shockingly Bad’: Critics Slam New Kate Middleton Portrait

'Shockingly Bad': Critics Slam New Kate Middleton Portrait

Royal Family

United Kingdom

Buckingham Palace unveiled the first official <a href="https://www.dailywire.com/topic/arts">portrait</a> of <a href="https://www.dailywire.com/topic/prince-charles">King Charles III</a> to mixed reactions from the public. 
The 8.5 by 6.5-foot painting was done by British artist Jonathan Yeo, who is also responsible for depicting other high-profile subjects like former British Prime Minister Tony Blair, actress Nicole Kidman, and education activist Malala Yousafzai.
King Charles is shown wearing the uniform of the Welsh guards. A butterfly is approaching his shoulder. The most striking aspect of the portrait is the swirling red background, which critics say is their main concern.
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The first official painted portrait of King Charles III since his coronation has been unveiled at Buckingham Palace. <a href="https://t.co/XLBMg1WxgE">pic.twitter.com/XLBMg1WxgE</a>
&mdash; Historic Vids (@historyinmemes) <a href="https://twitter.com/historyinmemes/status/1790688574880489498?ref_src=twsrc%5Etfw">May 15, 2024</a></blockquote>
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“It looks like he’s bathing in blood,” one popular comment on social media said.
Another Instagram commenter wrote, “I would have loved this if this was any other color than red. He really captured the essence of him in the face, but the harshness of the red doesn’t match the softness of his expression.” 
“Looks like he’s going straight to hell,” a third social media user wrote.
“All the blood spilled around the world under the Royal Family&#8217;s command,” a fourth commenter echoed.
Yeo told the BBC that King Charles’s wife, Camilla, was a fan of the finished product. “Yes you’ve got him,” she allegedly said after seeing the painting. 
The artist said King Charles was “mildly surprised by the strong color, but otherwise he seemed to be smiling approvingly.” 
&#8220;I do my best to capture the life experiences and humanity etched into any individual sitter’s face, and I hope that is what I have achieved in this portrait,&#8221; Yeo said in a <a href="https://www.instagram.com/p/C68_S5iMWZg/?hl=en&amp;img_index=2">statement</a> shared by the royal family. &#8220;To try and capture that for His Majesty The King, who occupies such a unique role, was both a tremendous professional challenge, and one which I thoroughly enjoyed and am immensely grateful for.&#8221;
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Yeo said on his <a href="https://www.jonathanyeo.com/new-index-41">website</a> that he was inspired by the Welsh Guards&#8217; red uniform. 
“The vivid color of the glazes in the background echo the uniform’s bright red tunic, not only resonating with the royal heritage found in many historical portraits but also injecting a dynamic, contemporary jolt into the genre with its uniformly powerful hue, providing a modern contrast to more traditional depictions.”
“The butterfly approaching King Charles&#8217;s shoulder in the portrait adds a layer of narrative depth, symbolizing both his known advocacy for environmental causes and his personal transformation,” Yeo added.

Charles portrait

First Portrait Of King Charles III Mocked On Social Media: ‘Looks Like He’s Going Straight To Hell’

First Portrait Of King Charles III Mocked On Social Media: 'Looks Like He’s Going Straight To Hell'

General

King Charles III

World

<a href="https://www.dailywire.com/topic/beyonce">Beyoncé</a> fans were delighted to see an advertisement for her upcoming <a href="https://www.dailywire.com/topic/music">album</a>, &#8220;Cowboy Carter,&#8221; being projected onto the <a href="https://www.dailywire.com/topic/arts">Guggenheim Museum</a> in New York City just over a week before its March 29 release. The only problem is that the projection was not authorized by the venue.
Advertisements for the album were seen projected on several museums besides the Guggenheim, including the Whitney Museum, New Museum, and the Museum of Art and Design.
Museum reps shared in a <a href="https://www.artnews.com/art-news/news/promotion-beyonce-cowboy-carter-album-guggenheim-whitney-new-museum-1234700495/">statement</a> with ARTnews that they did not authorize their building for that usage. They said Guggenheim staff “was not informed about and did not authorize this activation. However, we invite the public — including Beyoncé and her devoted fans — to visit the museum May 16–20 when we present projections by artist Jenny Holzer on the facade of our iconic building to celebrate the opening of her major exhibition.”
The projected image said, “This ain’t a country album. This is a ‘Beyoncé’ album,” and included the album’s title and release date.
The Grammy Award-winning singer also posted a photo of the Guggenheim’s coordinates to her Instagram Story on Wednesday night, per <a href="https://www.billboard.com/music/music-news/beyonce-cowboy-carter-nyc-museums-ad-1235638373/">Billboard</a>.
The Guggenheim referenced Beyoncé’s new song, “Texas Hold ‘Em,” when <a href="https://www.instagram.com/p/C4xphCdu6ux/?hl=en">posting</a> Franz Marc’s 1910 painting “Three Horses Drinking” to Instagram on Thursday morning. The image caption began with, “This ain’t Texas,” which is a line from the song. The museum&#8217;s social account also shared an image of the unauthorized projection in Instagram Stories, adding a text overlay that said, “Hey beyonce!,” with a bee emoji.
Earlier this week, Beyoncé shared the official album cover for Cowboy Carter and discussed some of her motivation behind it on Instagram earlier this week.
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“I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart. That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” she wrote in the caption. 
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“This album has been over five years in the making,” the post continued. “It was born out of an experience that I had years ago where I did not feel welcomed…and it was very clear that I wasn’t. But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive. It feels good to see how music can unite so many people around the world, while also amplifying the voices of some of the people who have dedicated so much of their lives educating on our musical history.”

Beyonce

Guggenheim Museum Rep Says They ‘Did Not Authorize’ Beyoncé Album Promotion Projected On Their Building

Guggenheim Museum Rep Says They 'Did Not Authorize' Beyoncé Album Promotion Projected On Their Building

Country Music

New York City

An art museum in <a href="https://www.dailywire.com/topic/england" target="_blank" rel="noopener">England</a> has issued a warning to patrons that images of a British countryside in paintings can evoke what it labeled &#8220;dark,&#8221; &#8220;nationalist feelings.&#8221;
The Fitzwilliam Museum, owned by the University of Cambridge, decided to overhaul some of its displays, something that the museum&#8217;s director Luke Syson insisted is not being &#8220;woke.&#8221;
&#8220;I would love to think that there’s a way of telling these larger, more inclusive histories that doesn&#8217;t feel as if it requires a push-back from those who try to suggest that any interest at all in [this work is] what would now be called &#8216;woke,'&#8221; Syson told the Telegraph, as reported by <a href="https://www.yahoo.com/news/paintings-british-countryside-evoke-dark-140508085.html">Yahoo</a> News.
The paintings have been moved around into categories in an effort to make the museum &#8220;inclusive.&#8221;
&#8220;Being inclusive and representative shouldn&#8217;t be controversial; it should be enriching,&#8221; Syson said.
One of the signs in the Nature Gallery, showing the work of artist John Constable&#8217;s paintings of English hills, noted that the artwork can stir feelings of &#8220;pride towards a homeland.&#8221;
<blockquote class="twitter-tweet">
&#8220;The Fitzwilliam Museum has suggested that paintings of the British countryside evoke dark &#8220;nationalist feelings&#8221;. The museum, owned by the University of Cambridge, has undertaken an overhaul [&#8230;] in a move that its director insisted was not “woke”.&#8221;<a href="https://t.co/1t09LcYqEP">https://t.co/1t09LcYqEP</a>
— Kristian Niemietz (@K_Niemietz) <a href="https://twitter.com/K_Niemietz/status/1768550114660958412?ref_src=twsrc%5Etfw">March 15, 2024</a></blockquote>
&#8220;Landscape paintings were also always entangled with national identity,&#8221; the sign read.
&#8220;The countryside was seen as a direct link to the past, and therefore a true reflection of the essence of a nation,&#8221; it added. &#8220;Paintings showing rolling English hills or lush French fields reinforced loyalty and pride towards a homeland.&#8221;
However, another part of the sign told visitors that &#8220;there is a darker side&#8221; to the images of the British countryside. 
&#8220;The darker side of evoking this nationalist feeling is the implication that only those with a historical tie to the land have a right to belong,&#8221; it added.
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Constable is known for his famous landscapes of the Suffolk countryside, the <a href="https://www.nationalgallery.org.uk/artists/john-constable#:~:text=Constable%20is%20famous%20for%20his,worked%20up%20in%20the%20studio.">National Gallery</a> in London noted. Interestingly enough, as popular as his paintings are now, the London Gallery noted that &#8220;they were not particularly well received in England during his lifetime.&#8221;
In another part of the museum, the sign for the new Identity Gallery told patrons that portraits of wealthy and uniformed sitters &#8220;became vital tools in reinforcing the social order of a white ruling class, leaving very little room for representations of people of color, the working classes or other marginalized people,” the outlet noted.
And that, &#8220;portraits were often entangled, in complex ways, with British imperialism and the institution of transatlantic slavery.&#8221;
In the Migration and Movement gallery, signage noted that &#8220;while some people chose to leave their homes, global conflict, discrimination and European colonialism meant others fled or were exiled by force.&#8221;

Museum Painting

Art Museum Warns That Images Of British Countryside Can Evoke ‘Dark’ ‘Nationalist’ Feelings

England

Museum

Wokeness

The Biden administration may have lied to the public about an ethics agreement related to <a href="https://www.dailywire.com/topic/hunter-biden" target="_blank" rel="noopener">Hunter Biden</a>’s art career, according to House Oversight and Accountability Chairman James Comers (R-KY).
The committee on Tuesday <a href="https://oversight.house.gov/release/comer-statement-on-interview-with-hunter-bidens-art-gallerist%EF%BF%BC/" target="_blank" rel="noopener">interviewed</a> Georges Bergès, Hunter’s art gallerist, and asked him about who was purchasing Hunter’s art and what his relationship was with the White House. According to Comer, Bergès said that he never made any ethics agreement with the White House, which has claimed there was an ethics agreement between the gallerist and the Biden administration to not discuss the sales. 
“The Biden White House appears to have deceived the American people about facilitating an ethics agreement governing the sale of Hunter Biden’s art. Hunter Biden’s gallerist never had any communication with the White House about such an agreement to make sure there was any sort of ethics compliance at all, and he provided information to the committee revealing how Hunter Biden’s amateur art career is an ethics nightmare,” Comer said. 
Bergès said that Hunter &#8220;knew the identities of the individuals who purchased roughly 70% of the value of his art, including Democrat donors Kevin Morris and Elizabeth Hirsh Naftali,&#8221; according to Comer. 
“The vast majority of Hunter Biden’s art has been purchased by Democrat donors, one of whom was appointed by President Biden to a prestigious commission after she purchased Hunter Biden’s art for tens of thousands of dollars shortly after Joe Biden’s inauguration. The White House has a lot of explaining to do about misleading the American people,” Comer said. 
Naftali, <a href="https://www.dailywire.com/news/foreign-post-handed-to-hunter-bidens-art-buyer-is-notorious-for-corruption-used-to-buy-foreign-influence">who paid Hunter Biden</a> for a piece of his hyper-expensive artwork, was appointed by President <a href="https://www.dailywire.com/topic/joe-biden">Joe Biden </a>to the Commission for the Preservation of America’s Heritage Abroad. 
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Morris, who previously helped pay Hunter’s unpaid taxes, reportedly purchased $875,000 worth of art from Hunter in January 2023. “However, Kevin Morris only paid Mr. Bergès 40% commission of the $875,000 purchase and Hunter Biden and Kevin Morris figured out the financial implications. Mr. Bergès admitted he has never done an art deal like that before,” House investigators noted. 
According to Comer, Bergès was introduced to Hunter by Hollywood video producer Lanette Phillips, who has hosted fundraisers for President Joe Biden. Bergès also reportedly told House lawmakers that he had met with the president in person and over the phone and was at a wedding at the White House. 
The interview was conducted as part of the House investigation into corruption and influence peddling within the Biden family.

Hunter Biden Dec 13

‘An Ethics Nightmare’: Hunter Biden Art Gallerist Interviewed By House Investigators

Biden Administration

Executive

Hunter Biden

James Comer

Joe Biden

Politics

White House

If you want these happy little trees, you’ll need a lot of green. Beloved TV artist Bob Ross’s first-ever on-air <a href="https://www.dailywire.com/topic/arts">painting</a> is up for sale and costs almost $10 million.
The late host of <a href="https://www.dailywire.com/topic/pbs">PBS</a>’s “The Joy of Painting” became massively popular for his friendly, calm demeanor and his insistence that anyone can become an artist. Now Modern Artifact Gallery in <a href="https://www.dailywire.com/topic/minneapolis">Minneapolis</a> is selling “A Walk in the Woods,” the first of over 400 paintings Ross made on the show. Ross painted it for the premiere episode which aired on January 11, 1983.
“It is season one, episode one of what you would call the rookie card for Bob Ross,” gallery owner Ryan Nelson said of the work, per <a href="https://www.theguardian.com/us-news/2023/sep/21/bob-ross-first-tv-painting-sale-a-walk-in-the-woods">The Guardian</a>. Nelson added that he doesn’t expect the work to sell quickly because of the cost. 
“What this piece represents is the people’s artist,” the gallery owner continued. “This isn’t an institution that’s telling you that Bob Ross is great. It’s not some high-brow gallery telling you that Bob Ross is great. This is the masses, the population in the world that are saying that Bob Ross is great.”
“A Walk in the Woods” was originally sold for an undisclosed amount to a volunteer to raise funds for the local PBS station. The painting was displayed in her home for almost four decades before she contacted Nelson about purchasing it. He bought it last year, then gave it the “not for sale” price of $9.89 million, the outlet noted. 
“Ryan would prefer to take [the painting] out, tour it around to museums and things like that so people can enjoy it and appreciate it,” Nelson’s publicist said. “He will take offers but he’s not in a hurry to sell it.”
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Ross, who died in 1995, had a passion for removing pretentious attitudes from the art world. As he said in the first episode, “We have avoided painting for so long because I think all of our lives we’ve been told that you have to go to school half your life, maybe even have to be blessed by Michelangelo at birth, to ever be able to paint a picture. And here, we want to show you that that’s not true. That you can paint a picture.”

painter

Bob Ross’s First Ever On-Air Painting On Sale For $9.8M

Bob Ross's First Ever On-Air Painting On Sale For $9.8M

Minneapolis

Television

A Danish <a href="https://www.dailywire.com/topic/arts">artist</a> is being asked to return money he was given to complete an art installation after he submitted two blank canvases as the finished project.
The Kunsten Museum of Modern Art in <a href="https://www.dailywire.com/topic/denmark">Denmark</a> lent artist Jens Haaning 532,549 Dutch krone, equivalent to about $76,400, so he could recreate two earlier pieces that physically depicted the average income of a Danish citizen versus an Austrian citizen, per <a href="https://www.npr.org/2023/09/18/1200192209/danish-artist-jens-haaning-blank-canvases-ordered-to-repay-loan-kunsten">NPR</a>. 
But rather than affixing the money to the canvases, Haaning pocketed the cash and turned in blank canvases he dubbed “Take the Money And Run.” 
The museum initially accepted the canvases and displayed them as part of its “Work It Out” show in 2021, expecting the artist to return the money afterward. But he refused, which resulted in a lengthy court battle.  
Haaning has now been ordered to return the money plus $11,000 in legal fees. The ruling deducted roughly $5,700 from the amount owed to reflect Haaning&#8217;s artist&#8217;s fee and viewing fee because the exhibit did proceed with his two blank canvases included.
Museum director Lasse Andersson, at first, was amused by the stunt. &#8220;Jens is known for his conceptual and activistic art with a humoristic touch. And he gave us that – but also a bit of a wake up call as everyone now wonders where did the money go,&#8221; he told <a href="https://www.cbsnews.com/news/artist-jens-haaning-take-the-money-and-run-ordered-return-cash-denmark/">CBS News</a> in 2021. 
But he also warned the artist that they did need the money back.
&#8220;We are not a wealthy museum,&#8221; Andersson told The Guardian in 2021. &#8220;We have to think carefully about how we spend our funds, and we don&#8217;t spend more than we can afford.&#8221;
The museum had extracted the funds from a building maintenance fund to give to Haaning. “I believe he will give it back to us. He is a well-regarded artist. But if we don’t get it back, we will have to file charges against the artist,” the director said at the time. Andersson said the museum’s contract with Haaning required him to return the money in January 2022, which he failed to do.
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According to Haaning&#8217;s press release in 2021, &#8220;the idea behind [it] was to show how salaries can be used to measure the value of work and to show national differences within the European Union.&#8221; The artist changed the title to &#8220;Take the Money and Run&#8221; as a means of addressing &#8220;artists&#8217; rights and their working conditions in order to establish more equitable norms within the art industry.&#8221;
“The work is that I have taken their money,” Haaning told the national Danish broadcaster DR in September 2021. “It’s not theft. It is breach of contract, and breach of contract is part of the work.”
“I encourage other people who have working conditions as miserable as mine to do the same. If they’re sitting in some sh**y job and not getting paid, and are actually being asked to pay money to go to work, then grab what you can and beat it,” he added.

Haaning

Danish Artist Ordered To Repay Museum $76K After Turning In Blank Canvases Called ‘Take The Money And Run’

Danish Artist Ordered To Repay Museum $76K After Turning In Blank Canvases Called 'Take The Money And Run'

Courts

Denmark

Lawsuit

A woman could see a six-figure payday as a <a href="https://www.dailywire.com/topic/arts">painting</a> she picked up at a <a href="https://www.dailywire.com/topic/new-hampshire">New Hampshire</a> thrift store turned out to be the lost work of a master artist.
The woman, who chooses to remain anonymous, said she found the <a href="https://www.dailywire.com/topic/painting">piece</a> at Savers thrift store in Manchester, New Hampshire, in 2017, per <a href="https://nypost.com/2023/09/01/new-hampshire-woman-buys-painting-for-4-not-knowing-its-a-nc-wyeth-that-could-be-worth-250k/">The New York Post</a>. She had been hunting for old frames to fix up when she stumbled upon the item.
Thinking nothing of it, she paid the $4 purchase price without having any idea of the painting’s value. She hung it in her bedroom for several years and then out of curiosity, posted it on the Facebook group “Things Found In Walls – And Other Hidden Findings.” Maine-based conservator Lauren Lewis saw the post and realized it could be the real work of Newell Convers (N.C.) Wyeth.
Wyeth (1882 &#8211; 1945) was a prolific artist credited with more than 3,000 paintings. His best-known works were 25 pieces called Scribner&#8217;s, which were illustrations for the Scribner Classics publishing house. N.C. Wyeth was the son of artist Andrew Wyeth and grandson of Jamie Wyeth, also a notable artist of his time.
The piece going up for auction was part of a series of four works created for the 1939 edition of Helen Hunt Jackson’s 1884 novel “Ramona.” The book tells the tale of a Scottish-Native American girl living in Southern California after the Mexican-American war, the outlet noted. 
Now the formerly lost painting will be auctioned by Bonhams Skinner on September 19. The estimated bidding price is between $150,000 and $250,000.
“Wyeth deftly portrays the tension between Ramona and her rigid and overbearing foster mother, Señora Moreno,&#8221; the auction house wrote in the listing. Prior to this discovery, only one of the paintings from the series had been found.
The woman who found it recalled how she previously, “joked about it being a real painting.”
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Lewis, the conservator who first recognized the piece for what it was, told <a href="https://www.bostonglobe.com/2023/08/25/arts/rare-nc-wyeth-painting-new-hampshire-thrift-store/">The Boston Globe</a> she was “99 percent certain that it was authentic.”
“My assessment of the condition was that, while it certainly had some small scratches and it could use a surface clean, it was in remarkable condition considering none of us had any idea of its journey over the last 80 years,” she said.

frames

Woman Buys Painting For $4 At Thrift Store, Turns Out It Could Fetch Up To $250K

New Hampshire

Painting

A longtime trustee of the Metropolitan Museum of Art in New York City has had nearly $70 million in looted artifacts seized in the past two years, though investigators haven’t suggested she, or her late husband, knowingly acquired them with that information. 
Shelby White, an 84-year-old emeritus trustee of the Met, has had 71 looted artifacts seized from her Manhattan apartment over the past two years. An additional 17 artifacts she loaned to the museum have also been seized under the suspicion of them being stolen, according to a <a href="https://www.nytimes.com/2023/07/17/arts/design/shelby-white-the-met-antiquities-investigation.html" target="_blank" rel="noopener">report</a> from The New York Times. 
“The Met has been very public in acknowledging that new information brought to light by law enforcement and others has precipitated our decision to devote additional resources to provenance research,” Met spokesman Ken Weine told the NYT. 
The investigation was being conducted by the Manhattan District Attorney’s Office’s Antiquities Trafficking Unit, which has reportedly seized 89 items in total from Shelby White’s collection. One of the looted items is a bronze statuette of Roman emperor Lucius Verus — one of the most expensive artifacts in the collection at $15 million — which belongs to Turkey, <a href="https://nypost.com/2023/07/19/investigators-seize-69m-worth-of-stolen-artifacts-from-met-trustee/" target="_blank" rel="noopener">according</a> to the New York Post. 
Another item was a seventh-century Chinese funerary artifact that was still filled with dirt, a sign that it had previously been looted; it has since been returned to China. Additional artifacts include a mixing bowl and an amphora from the sixth century B.C., among many others. 
Matthew Bogdanos, head of the Antiquities Trafficking Unit, described White’s apartment as “literally a museum.” 
Despite many of White’s purchased artifacts being seized on suspicion of looting, it appears the Met is not trying to distance itself from the collector. White and her late husband, investor Leon Levy, had donated roughly $20 million to the organization. In 2007, after Levy passed away, the Met unveiled the Leon Levy and Shelby White Court, which the Times describes as the “centerpiece of the Met’s Greek and Roman galleries.” 
Additionally, White is a member of numerous committees at the museum, including buildings, finance, and even acquisitions. According to the Times, she was recently placed on a task force focusing on issues relating to cultural property and practices for collection. She served as a trustee for 33 years, but now as emeritus trustee does not have voting power, offering advice instead. 
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While investigators have not suggested White purposefully purchased the artifacts knowing they were stolen, some experts have expressed doubts. 
“There is no way that someone at her level of the market and her depth of collecting and her prominence at the Met, there is no way someone at that level did not know they should be asking for things like export licenses,” Colgate University director of museum studies Elizabeth Marlowe told the Times. 
Patty Gerstenblith, a professor at DePaul University, said, “Her collecting practices do not fit the model of how a museum should be pursuing knowledge and preserving the historical record.” 
However, White’s lawyer Peter A Chavkin says that any items in her collection deemed looted have been promptly and “voluntarily returned&#8221; to its &#8220;rightful place of origin.” He also says White and Levy purchased all the antiquities in “good faith” from “reputable” dealers. 
Additionally, the Met appears to have defended her from attacks, with Met director Max Hollein saying she is a “profoundly generous supporter” who has had an “enormous impact at this museum and many other institutions.&#8221;
Since the 1970s, White and Levy have purchased over 700 artifacts from around the world, and “dozens” are still included in the museum&#8217;s collection, according to the Times. The Manhattan District Attorney’s Office says it has concluded the investigation into White’s collection, but that it will reexamine if new evidence comes forward.

Exterior of the Metropolitan Museum of Art in New York City

$69M In Looted Artifacts Seized From Met Trustee, Including Some On Loan To The Museum

History

The National Endowment for the Arts (NEA) granted $35,000 from taxpayers to support a transgender dance tour in four states led by a “queer choreographer.&#8221;
The <a href="https://freshmeatproductions.org/sean-dorsey-dance-the-lost-art-of-dreaming-online-on-demand-apap-screening/" target="_blank" rel="noopener">performance</a> is titled “The Lost Art of Dreaming” and produced by Fresh Meat Productions, a San Francisco-based studio led by transgender activist <a href="https://seandorseydance.com/about/artistic-director/" target="_blank" rel="noopener">Sean Dorsey</a>, who <a href="https://seandorseydance.com/about/artistic-director/" target="_blank" rel="noopener">describes</a> himself as the “first acclaimed transgender modern dance choreographer.”
The NEA grant description says the performance “imagines transgender and queer futures through contemporary dance, grand-scale costuming that will double as set and visual elements, and physical theater.” The grant covers one year, from May 2023 to May 2024.
Fresh Meat Productions <a href="https://freshmeatproductions.org/sean-dorsey-dance-the-lost-art-of-dreaming-online-on-demand-apap-screening/" target="_blank" rel="noopener">notes</a> that the dance is “performed by a powerhouse ensemble of five trans, queer and gender-non-conforming dancers” featuring “intimate storytelling, intricate costuming and exquisite queer partnering.”
<div class="image"><img loading="lazy" decoding="async" class=" wp-image-590067 aligncenter" src="https://dw-wp-production.imgix.net/2023/07/Screen-Shot-2023-07-19-at-10.37.47-AM-300x195.png" alt="" width="601" height="391" srcset="https://dw-wp-production.imgix.net/2023/07/Screen-Shot-2023-07-19-at-10.37.47-AM-300x195.png 300w, https://dw-wp-production.imgix.net/2023/07/Screen-Shot-2023-07-19-at-10.37.47-AM-886x576.png 886w, https://dw-wp-production.imgix.net/2023/07/Screen-Shot-2023-07-19-at-10.37.47-AM-768x499.png 768w, https://dw-wp-production.imgix.net/2023/07/Screen-Shot-2023-07-19-at-10.37.47-AM-1536x998.png 1536w, https://dw-wp-production.imgix.net/2023/07/Screen-Shot-2023-07-19-at-10.37.47-AM.png 1702w" sizes="(max-width: 601px) 100vw, 601px" /></div>
“Dorsey will host free community engagement activities such as trans-supportive writing and movement workshops,” the grant description adds. “This project will serve artists and audiences in Georgia, Massachusetts, North Carolina, and Wisconsin.”
Fresh Meat Productions lists several of its “<a href="https://seandorseydance.com/works/the-lost-art-of-dreaming/booking-touring/" target="_blank" rel="noopener">community engagement activities</a>” on its website, which includes “free online creative tools.” Among the resources are “<a href="https://seandorseydance.com/works/the-lost-art-of-dreaming/postcards-from-the-future/" target="_blank" rel="noopener">postcards from the future</a>,” drawings of transgender mermaids and other figures, along with slogans like “we are divine,” “joy is your birthright,” and “you are exquisite.”
The NEA told The Daily Wire that the grant was made &#8220;on the basis of artistic excellence and artistic merit&#8221; and that &#8220;panels of arts experts and other individuals from across the country &#8230; made recommendations on all of the Grants for Arts Projects applications.&#8221;
The studio has received several NEA grants, according to the government agency&#8217;s <a href="https://apps.nea.gov/grantsearch/" target="_blank" rel="noopener">grant search page</a>, which reveals that Fresh Meat Studios also received $35,000 in 2022 for the same dance tour. It also received $150,000 from the American Rescue Plan and has received funding for other productions, including one focused on the AIDS epidemic. Another focused on &#8220;masculinity and gender in contemporary America.&#8221;
Fresh Meat Productions also received a $19,000 <a href="https://arts.ca.gov/grantee/fresh-meat-productions-9/" target="_blank" rel="noopener">grant</a> from the California Arts Council, which is funded by the State of California, in <a href="https://arts.ca.gov/wp-content/uploads/2021/01/CAC_LI_2019-20_GrantListings.pdf" target="_blank" rel="noopener">2019</a>. A project description reads: “Operating in a world that harms and excludes trans bodies and expression, FMP lifts up trans and gender non-conforming artists as agents of change.”
It also adds that Fresh Meat Productions promotes “the evolution of transgender arts and culture” and the “artistic development and leadership of trans, gender non-conforming and queer communities.”
Meanwhile, the NEA has also patronized other productions that promote transgenderism. A $30,000 grant to Boulder, Colorado’s Motus Theater went “to support the development and world premiere touring production of the TRANSformative Monologues project.”
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“Local transgender community leaders will participate in a series of artmaking workshops and will collaborate with theater artists to write and perform autobiographical monologues,” the description explains that the performances will also feature “guest experts on issues of transgender rights.” The grant period began in January 2023 and continues until January 2024.
<div class="image"><img loading="lazy" decoding="async" class=" wp-image-590071 aligncenter" src="https://dw-wp-production.imgix.net/2023/07/Screen-Shot-2023-07-19-at-10.39.44-AM-300x96.png" alt="" width="625" height="200" srcset="https://dw-wp-production.imgix.net/2023/07/Screen-Shot-2023-07-19-at-10.39.44-AM-300x96.png 300w, https://dw-wp-production.imgix.net/2023/07/Screen-Shot-2023-07-19-at-10.39.44-AM-1024x329.png 1024w, https://dw-wp-production.imgix.net/2023/07/Screen-Shot-2023-07-19-at-10.39.44-AM-768x246.png 768w, https://dw-wp-production.imgix.net/2023/07/Screen-Shot-2023-07-19-at-10.39.44-AM.png 1340w" sizes="(max-width: 625px) 100vw, 625px" /></div>
Motus Theater is <a href="https://www.motustheater.org/transformative-stories" target="_blank" rel="noopener">searching</a> for five to eight “transgender and non-binary leaders to develop artfully crafted personal stories about their hopes, dreams, and experiences of negotiating oppression and liberation.”
The project intends to interrupt “dehumanizing rhetoric and policies targeting transgender and non-binary people” and to <a href="https://static1.squarespace.com/static/5ae20263aa49a1f4000bf576/t/640a10d88e58752841338455/1678381272427/TRANSformative+Stories_Flyer_5.pdf" target="_blank" rel="noopener">depict</a> transgender individuals “as the protagonists in the American drama.”

Audience watching dance

National Endowment For The Arts Grants $35K To Transgender Dance Tour

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