Art, Power, and Authenticity: A Call for Independence

Be Free. Don’t Play the Game

As an independent artist with a commitment to genuine humanist expression and innovation, I have observed a troubling dynamic within the contemporary art world. This landscape, often characterized by its ostensible celebration of creativity, is, in fact, deeply and negatively influenced by powerful gatekeepers whose motives and actions ultimately undermine the essence of artistic authenticity.

Historically, the relationship between art and power has been intricate. The Renaissance and ancient Greece, celebrated for their cultural achievements, had fantastic moments where powerful elites, philosophers, and the public were in sync. But, these periods also harbored political machinations that affected many artists’ livelihoods. Figures like the Medici sons, while patrons of the arts, were entangled in intrigue and moral complexities. And even with safeguards in place, evil people like Savonarola almost destroyed the future achievements of da Vinci and Michelangelo.¹

Today, our culture is unfortunately dominated by 70 years of the CIA's statecraft, which has turned the United States into an empire of lies. This has created an art world where postmodern bullshit, PMBS, is matched by cultural manipulation.²

The Impact of Contemporary Manipulations

In the current landscape, we see the interplay between art and power, compounded by modern institutions and intelligence agencies that exert influence behind the scenes. Reports of funding through clandestine means raise concerns about the integrity of artistic support. When funding sources are obscured or rooted in dubious practices, money laundering, they stifle artistic expression, particularly for those pushing boundaries and exploring genuine human greatness.³

The case of musicians like Andrei Gavrilov illustrates this dynamic. Despite his groundbreaking and brilliant work, he finds himself marginalized by the very institutions that should celebrate him. This situation highlights a significant disconnect between artistic merit and institutional recognition, prompting critical questions about how statecraft interacts with the arts and the necessity for transparency.⁴

Idealistically, though unrealistically, true progress in the arts demands that cultural institutions operate with integrity and accountability. This requires a commitment to transparency in funding and selection processes, enabling a system that values artists based on merit rather than connections to power. It is doubtful that museums and galleries will ever fully resist engaging in financial manipulations, such as price bumping through artificial support, and they are unlikely to be the solution for restoring trust and authenticity in the cultural landscape.

From my perspective, I have succeeded as an artist by being shrewd. Living within my means affords me the freedom to create purely out of love, without stress or worry. By not taking commissions or compromising my vision, I choose not to invest my energy in power brokers or others who seek to shape my career. I won’t trust future possibilities unless I can verify their integrity. As the saying goes, one should seek the wisdom to know the things they can change and the acceptance of what they cannot.

The vision for an ideal artistic ecosystem is one where the best of humanity and aesthetics flourish, unchained by hidden agendas. But it is unlikely that individual artists have the ability to destroy cultural power structures or that the CIA-Statecraft-Empire of Lies will roll over and relinquish their cultural stranglehold.⁵ The most feasible approach is to bypass them altogether.

Newberry, Vitruvian Man, 2024, oil on linen, 64x48”.

Possible Actions: Independence

To truly thrive as independent artists, it is essential to break free from established organizations, institutions, and journals. By distancing themselves from these entities, artists can maintain creative control and authenticity in their work. This independence allows for genuine artistic expression, free from hidden agendas, political and corporate schemes, and the risk of being used as a front by questionable organizations.

While glamour and wealth dominate what is popular in the art world—and indeed any world—they can also obscure the true value of artistic expression. Many artists face the challenge of navigating a system where visibility is often tied to nebulous financial backing rather than merit. To overcome this, artists must have backers that are transparent, authentic, and have good hearts. By doing so, artists can redefine what it means to achieve success in the arts, valuing substance over superficial allure. This would also be a wonderful opportunity for self-made individuals of extraordinary wealth to use their resources to promote genuinely talented artists.

At the core of artistic expression lies the concept of individual agency. Each artist possesses the power to shape their own narrative, pursue their vision, and connect with audiences on their terms. Embracing this autonomy empowers artists to rise above the sham of an industry filled with compromised souls. Ultimately, it is the individual artist's commitment to their art, their ability to navigate challenges, and their dedication to authenticity that will drive cultural change.

 A few practical steps I am taking involve leveraging the power of ideas. While it may take time for these ideas to be absorbed—without the mass distribution tactics that the CIA is notorious for—I have strategically written aesthetic books that encompass a broad scope, from new perspectives in art history and aesthetic theory to art criticism and the philosophy of art.⁶ Currently, I'm also working on my art memoir. Another meaningful approach is to interview great contemporary artists, sharing their insights on how they create, survive, and the advice they would offer to other artists.

In the end, true progress in the arts relies on artists' ability to operate independently of corrupted systems. It’s not wealth or glamour that defines the lasting impact of creative work but the authenticity of individual vision. By trusting in their personal agency and staying true to their art, artists can shape the future of culture, one honest step at a time.

Michael Newberry, Idyllwild, California, September 20, 2024.

1. See my chapter, 3 Those Who Destroy Art. Evolution Through Art

2. “During the height of the Cold War, the U.S. government committed vast resources to a secret program of cultural propaganda in Western Europe. A central feature of this program was to advance the claim that it did not exist. It was managed, in great secrecy, by America’s espionage arm, the Central Intelligence Agency. The centerpiece of this covert campaign was the Congress for Cultural Freedom, run by CIA agent Michael Josselson from 1950 until 1967. Its achievements—not least its duration—were considerable. At its peak, the Congress for Cultural Freedom had offices in thirty-five countries, employed dozens of personnel, published over twenty prestige magazines, held art exhibitions, owned a news and features service, organized high-profile international conferences, and rewarded musicians and artists with prizes and public performances. Its mission was to nudge the intelligentsia of Western Europe away from its lingering fascination with Marxism and Communism towards a view more accommodating of ‘the American way.’”

Saunders, Frances Stonor. The Cultural Cold War: The CIA and the World of Arts and Letters (p. 1). The New Press. Kindle Edition.

3. See also Saunders, The Cultural Cold War.

4. Andrei Gavrilov, for details on his latest monumental project, see https://www.andreigavrilov.com/bach300

5. Mike Benz, "The History of the Intelligence State," lecture presented at a conference by Hillsdale College, September 19, 2024. The lecture was live-streamed and is now unavailable for public viewing.

6. “The CIA’s clandestine books program was run, according to the same source, with the following aims in mind: ‘Get books published or distributed abroad without revealing any U.S. influence, by covertly subsidizing foreign publications or booksellers. Get books published which should not be ‘contaminated’ by any overt tie-in with the U.S. government, especially if the position of the author is ‘delicate.’ Get books published for operational reasons, regardless of commercial viability. Initiate and subsidize indigenous national or international organizations for book publishing or distributing purposes. Stimulate the writing of politically significant books by unknown foreign authors—either by directly subsidizing the author, if covert contact is feasible, or indirectly, through literary agents or publishers.’”

Saunders, Frances Stonor. The Cultural Cold War: The CIA and the World of Arts and Letters (p. 206). The New Press. Kindle Edition.