Rights Most Influential Art Historian Helps Shape Project 2025

The name of the project Esther comes from the Old Testament Queen, who saved the Jews from the massacre of her husband, the Persian king. This is one of many efforts to supplement the Heritage Foundation’s 2025 project, a 922-page blueprint for the Trump administration to completely control the U.S. government and destroy parts that billionaires don’t want. The Esther project aims to take over higher education in the United States and targets progressive organizations that may support Palestinians and oppose extreme Christian nationalism; it is run by art historian Victoria Coates. Although hardly any actual Jewish involves any actual Jewish, the Esther project’s main strategy is to blame institutions, faculty and students for anti-Semitism and describe widespread critics as “effective terrorist support networks.” Here, Esther of the Bible becomes a doomsday role model for the ruling class conservatives, whom God saved the class conservatives on the second arrival of Donald Trump when they should seize power and cleanse the evil nation, so to speak.

Coates served as deputy national security adviser for Middle East and North Africa affairs on Trump’s first National Security Council, but was removed from office after the administration accused her of being an anonymous author New York Times Experts, and the entire book of criticism of Trump. (She denied this; ultimately, another appointed appointment was not too strong.) But Coates claims to be the most influential art historian of rights. She started attacking the academy from the inside, which is the anonymous blogger behind the academy elephant. Her post began with a serious plea for conservatives within academia, but quickly turned into sticky.

John Adams once declared that he had to be a soldier, so his son could become a banker, so his son could become a poet. Coates’ life story follows a similar arc. Her grandfather co-founded the Dewalt Tool and merged it with the AMF: Bowling Pins, Bicycle Wheels and Weapons Group, which provided the cover for Israel’s nuclear weapons development program in the 1950s, a literal meaning of the military industrial complex. This way her father can work with Warren Buffett’s partners and find an investment management company that allows him to amass one of the world’s largest collections of private coins. So Coates could study the history of the Italian Renaissance art at Williams College and the University of Pennsylvania; the pivot of the anonymous mole penetrated the Free Academy into George W. Bush and Donald Rumsfield Vangel (George W. became a researcher in Rumsfield’s memoirs and then became a security adviser to the three descending circles of Republican presidential candidate Hell: Rick Perry, Ted Cruz and Donald Trump. She was deep in the 2016 Republican junior cycle when she brought all the Messianic, Conservative, Art, Historical, and Political Clues into a book. David’s Sling: The Democratic History of Ten Works of Art (2016).

This book is key to Coates’ larger religious and political mission, with Esther only the latest chapter. Coates proposes that democracy is like the suspender David used to kill Goliath: an example of the divinely appointed human creativity. She tried to argue that “democratic countries exhibited special abilities to inspire extraordinary works of art”, so she identified ten works of art that “emphasize the synergy between freedom and creativity.” Technically, two buildings are buildings, one of which is the Parthenon, and are counted twice: once when constructed and once when plundering. However, Coates’ list speed gradually intervenes in two free worlds in the two European wars, from Athens, Rome to Venice and Florence, from France to Britain and France, to the United States, and intervenes in two European wars.

Coates is named after the greatness of Parthenon of Phidias (fifth century BC) and Michelangelo. David (1501–4), while acknowledging that the Empire also often delivers explosions, such as the Pantheon of Apollos (118-28 CE) or Velasquez’s Las Meninas (1656). In fact, she has hardly explored the connection between art and free society In fact Symbolism. Instead, she thought of the historical moments of each work, combining narratives from normative historians like Levi and Plutak with dialogues of comic inventions (“Tell me! I’ve only been to a banquet once, and I’ve only been to one since the death of the Eiffelites, and she imagined the greatest orator of Athens, the greatest effect on phidias. Of course, in the birth of a country (United States of America), it spreads freedom from the coast to all over the world.

But in each case, the relationship between art and democracy is complex at best. Shortly after the Parthenon ended, Athenian democracy collapsed. After the Medici Dynasty returned to Florence to take office, he immediately chose David and Michelangelo. The Republic of Venice built the Cathedral of St. Mark with a huge trade network and used artifacts, gold, porphyry and ancient bronze sculptures plundered by Constantinople. (“The sacks in Constantinople in 1204 were the high water level of Venice,” Coates wrote. Alfred Bierstadt’s paradise of the Rocky Mountains promoted the apparent fate of white Americans to replace the indigenous society that decorated the wilderness. And Picasso’s Cminica (1937), an inner protest against fascist violence hung over the exiled Moma, while the United States spent the dictator surrounded by the dictator who smashed the Spanish Republic, Francisco Franco Franco.

The artwork was introduced as an embodiment of freedom and was then often crushed into the service of imperialism, colonialism and authoritarianism, so it began to feel like Coates’ actual viewpoint. Just as the so-called free speech activists stop complaining when censors come for their political opponents, Coates’s idea of freedom seems ready to accommodate many tyranny to accomplish things. No one can capture the dynamic of this kind better than her questionable favorite, Jacques-Louis David, a flipped hero of the French Revolution. In early 1789, David received the first royal commission from Louis XVI to portray Lucius Junius Brutus, the founder of the Roman Republic. When he finished the work, his neoclassical portrayal of his mourning for Brutus’s treasonous son became an idol of the revolution, putting the law above all, even the king. David’s Marat’s death (1793) transformed the fierce propagandist into inciting mob violence and revenge in the name of democracy, becoming a peaceful martyr. After Robespierre’s tyranny, conspiracy and execution, David transferred his hopes for French democracy to Napoleon. Of course, the military genius who had just conquered Rome and ended the Venetian Republic would bring peace back to France: peace and enough artwork to fill the Louvre. David helped guide Napoleon’s plunder of Italy, not only demanding the capture of the classical bronze bust considered to be the portrait of Brutus, but he helped Napoleon show it for the greatest Republican advantage. Then, when Napoleon declared his emperor, David painted the coronation.

This ancient Roman bronze is a questionable fulcrum, on which Coates’s entire narrative transformation. All three modern Western empires she proposed – Frans, England and the United States – all originated in Athens and the Roman Republic. To tell the story of Lucius Junius Brutus and the founding of the Roman Republic, Coates is mainly excerpted from Livy The history of Rome, Written 500 years later in the first century BC, with the aim of establishing the legitimacy of Octavian as the founder of the Roman Empire. Coates mentioned – but without quotes – Brutus bronze statue was mentioned in the 5th century BC. Coates combines her widely imagined dialogue among actual Renaissance historical figures, and Coates sounds like this bronze medal absolutely portrays Brutus without enumerating real evidence. In fact, before it surfaced in the 1550s, there was no trace of sculpture and no place to be found. Contemporary scholarships show that copper actually dates from the 3rd century BC to the 1st century AD, which makes its association with Brutus a fabric from the 16th century. Coates explains this, instead taking the naturalistic style of the portrait as an innovation achieved by the New Republic’s freedom. Like David and Napoleon, Coates deployed a symbolic powerful work of art to promote a political narrative that facts do not support. This is fake art history news.

Coates ends her book with disturbing lament: “How easy is it David’s Sling If freedom is the default setting for governance, then writing a letter will write a letter, and if humans have the meaning and willingness to defend the achievement of freedom, it will be used as a prize as a prize. But, as evidenced by many of the disappointments and setbacks recorded in these pages, the opposite situation may be more likely to be argued. “Indeed, her misleading, omissions and speculative fabrication blended the art, and nine years later, she was associated with the Esther project. Davidthe so-called symbol of freedom is conveniently cut on Coates’ cover.

She suddenly wrote: “The coincidence of the book forms a new focus: “Although it is an important coincidence, the book is just as similar to the new generation of Israeli missile defense,” she wrote, as part of the Iron Dome Dome Air Defial Deafe Seal Defial System in Israel. The missile was originally deployed in 2017. Coates continued: “While there is a clear difference between the missile defense program and research in art history, both versions of David Sling show how freedom inspired human creativity. The outstanding works studied here illustrate the dangers we encounter in our own time assured and celebrated freedom. ”

Here Coates attributes human creativity to freedom, and in the early days of the introduction, it was the result of “faith in God.” Maybe there is no difference. Perhaps the true David’s sling is the faith-based authoritarian empire we armed and supported along the way.