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| module = {{Infobox musical artist
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| discography = {{hlist|[[Bob Dylan discography|Albums and singles]]|[[List of songs written by Bob Dylan|songs]]|[[Bob Dylan bootleg recordings|bootleg recordings]]}}
| genre = {{Flatlist|
* [[Contemporary folk music|Folk]]
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|title = "The Times They Are a-Changin{{'"}}
|description= Dylan said of "The Times They Are a-Changin{{'"}}: "This was definitely a song with a purpose. I wanted to write a big song, some kind of theme song, with short concise verses that piled up on each other in a hypnotic way. The civil rights movement and the folk music movement were pretty close and allied together at that time."<ref name="Crowe-1985"/>}}
In May 1963, Dylan's political profile rose when he walked out of ''[[The Ed Sullivan Show]]''. During rehearsals, Dylan had been told by CBS television's head of program practices that "[[Talkin' John Birch Paranoid Blues]]" was potentially [[libelous]] to the [[John Birch Society]]. Rather than comply with censorship, Dylan refused to appear.<ref>Dylan had recorded "Talkin' John Birch Society Blues" for his [[The Freewheelin' Bob Dylan|''Freewheelin'']] album, but the song was replaced by later compositions, including "[[Masters of War]]". See Heylin (2000), pp. 114–115.</ref>
Dylan and Baez were prominent in the civil rights movement, singing together at the [[March on Washington for Jobs and Freedom|March on Washington]] on August 28, 1963.
Dylan's third album, ''[[The Times They Are a-Changin' (Bob Dylan album)|The Times They Are a-Changin'<nowiki/>]]'', reflected a more politicized Dylan.<ref>Gill, pp. 37–41.</ref> The songs often took as their subject matter contemporary stories, with "[[Only a Pawn in Their Game]]" addressing the murder of civil rights worker [[Medgar Evers]], and the [[Bertolt Brecht|Brechtian]] "[[The Lonesome Death of Hattie Carroll]]" the death of Black hotel barmaid Hattie Carroll at the hands of young White socialite William Zantzinger.<ref>Ricks, pp. 221–233.</ref> "[[Ballad of Hollis Brown]]" and "[[North Country Blues]]" addressed despair engendered by the breakdown of farming and mining communities. This political material was accompanied by two personal love songs, "[[Boots of Spanish Leather]]" and "[[One Too Many Mornings]]".<ref>Williams, p. 56.</ref>
By the end of 1963, Dylan felt manipulated and constrained by the folk and protest movements.<ref>Shelton, pp. 200–205.</ref> Accepting the "[[Thomas Paine|Tom Paine]] Award" from the [[National Emergency Civil Liberties Committee]] shortly after the assassination of [[John F. Kennedy]], an intoxicated Dylan questioned the role of the committee, characterized the members as old and balding, and claimed to see something of himself and of every man in Kennedy's assassin, [[Lee Harvey Oswald]].<ref>Part of Dylan's speech went: "There's no black and white, left and right to me any more; there's only up and down and down is very close to the ground. And I'm trying to go up without thinking of anything trivial such as politics...I got to admit that the man who shot President Kennedy, Lee Oswald, I don't know exactly where --what he thought he was doing, but I got to admit honestly that I too – I saw some of myself in him. I don't think it would have gone – I don't think it could go that far. But I got to stand up and say I saw things that he felt, in me – not to go that far and shoot. (Boos and hisses) You can boo..."; see, Shelton, pp. 200–205.</ref>▼
▲By the end of 1963, Dylan felt manipulated and constrained by the folk and protest movements.<ref>Shelton, pp. 200–205.</ref> Accepting the "[[Thomas Paine|Tom Paine]] Award" from the [[National Emergency Civil Liberties Committee|Emergency Civil Liberties Committee]] shortly after the [[assassination of
[[File:Bob Dylan in November 1963.jpg|alt=A spotlight shines on Dylan as he performs onstage.|left|thumb|''Bobby'' Dylan, as the college yearbook lists him: [[St. Lawrence University]], upstate New York, November 1963]]
''[[Another Side of Bob Dylan]]'', recorded in a single evening on June 9, 1964,<ref>Heylin (1996), p. 60.</ref> had a lighter mood. The humorous Dylan reemerged on "[[I Shall Be Free No. 10]]" and "Motorpsycho Nightmare". "[[Spanish Harlem Incident]]" and "[[To Ramona]]" are passionate love songs, while "[[Black Crow Blues]]" and "[[I Don't Believe You (She Acts Like We Never Have Met)]]" suggest the rock and roll soon to dominate Dylan's music. "[[It Ain't Me Babe]]", on the surface a song about spurned love, has been described as a rejection of the role of political spokesman thrust upon him.<ref>Shelton, p. 222.</ref> His new direction was signaled by two lengthy songs: the [[impressionism|impressionistic]] "[[Chimes of Freedom (song)|Chimes of Freedom]]", which sets [[social commentary]] against a metaphorical landscape in a style characterized by [[Allen Ginsberg]] as "chains of flashing images,"<ref group="a">In an interview with Seth Goddard for ''Life'' (July 5, 2001) Ginsberg said Dylan's technique had been inspired by [[Jack Kerouac]]: "(Dylan) pulled ''[[Mexico City Blues]]'' from my hand and started reading it and I said, 'What do you know about that?' He said, 'Somebody handed it to me in '59 in St. Paul and it blew my mind.' So I said 'Why?' He said, 'It was the first poetry that spoke to me in my own language.' So those chains of flashing images you get in Dylan, like 'the motorcycle black Madonna two-wheeled gypsy queen and her silver studded phantom lover,' they're influenced by Kerouac's chains of flashing images and spontaneous writing, and that spreads out into the people". {{cite book|editor-first=Michael |editor-last=Schumacher|title=First Thought: Conversations with Allen Ginsberg|url=https://books.google.com/books?id=4Ch0DwAAQBAJ&pg=PT322|date=2017|publisher=U of Minnesota Press|isbn=978-1-4529-4995-6|pages=322–}}</ref> and "[[My Back Pages]]", which attacks the simplistic and arch seriousness of his own earlier topical songs and seems to predict the backlash he was about to encounter from his former champions.<ref>Shelton, pp. 219–222.</ref>
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The second side of ''Bringing It All Back Home'' contained four long songs on which Dylan accompanied himself on acoustic guitar and harmonica.<ref name="Sounes-168">Sounes, pp. 168–169.</ref> "[[Mr. Tambourine Man]]" became one of his best-known songs when [[The Byrds]] recorded an electric version that reached number one in the US and UK.<ref>{{cite book|last1=Warwick|first1=N.|last2=Brown|first2=T.|last3=Kutner|first3=J.|year=2004|title=The Complete Book of the British Charts|edition=Third|page=6|publisher=Omnibus Press|isbn=978-1-84449-058-5}}</ref><ref>{{cite book|last=Whitburn|first=J.|page=130|year=2008|title=Top Pop Singles 1955–2006|publisher=Record Research Inc|isbn=978-0-89820-172-7}}</ref> "[[It's All Over Now, Baby Blue]]" and "[[It's Alright Ma (I'm Only Bleeding)]]" were two of Dylan's most important compositions.<ref name="Sounes-168"/><ref>Shelton, pp. 276–277.</ref>
In 1965, headlining the [[Newport Folk Festival]], Dylan performed his first electric set since high school with a [[pickup group]] featuring [[Mike Bloomfield]] on guitar and [[Al Kooper]] on organ.<ref>Heylin (2000), pp. 208–216.</ref> Dylan had appeared at Newport in 1963 and 1964, but in 1965 was met with cheering and booing and left the stage after three songs. One version has it that the boos were from folk fans whom Dylan had alienated by appearing, unexpectedly, with an electric guitar. [[Murray Lerner]], who filmed the performance, said: "I absolutely think that they were booing Dylan going electric."<ref>{{cite web| url=http://www.mojo4music.com/blog/2007/10/exclusive_dylan_at_newport_who.html| title=Exclusive: Dylan at Newport—Who Booed?| work=[[Mojo (magazine)|Mojo]]| date=October 25, 2007| access-date=September 7, 2008| url-status=dead| archive-url=https://web.archive.org/web/20090412210946/http://www.mojo4music.com/blog/2007/10/exclusive_dylan_at_newport_who.html| archive-date=April 12, 2009| df=mdy-all}}</ref> An alternative account claims audience members were upset by poor sound and a short set.<ref>{{cite news|page=3 |url=http://blogs.citypages.com/gimmenoise/2010/04/al_kooper_talks.php?page=3 |title=Al Kooper talks Dylan, Conan, Hendrix, and lifetime in the music business |work=City Pages |publisher=Village Voice Media |date=April 28, 2010 |access-date=May 1, 2010 |url-status=dead|archive-url=https://web.archive.org/web/20100429151407/http://blogs.citypages.com/gimmenoise/2010/04/al_kooper_talks.php?page=3 |archive-date=April 29, 2010 }}</ref><ref>{{cite web|url=http://buffaloreport.com/020826dylan.html|author=Jackson, Bruce|date=August 26, 2002|access-date=May 8, 2010|title=The myth of Newport '65: It wasn't Bob Dylan they were booing|publisher=Buffalo Report| archive-url =https://web.archive.org/web/20080223005652/http://buffaloreport.com/020826dylan.html| archive-date=February 23, 2008|url-status=unfit}}</ref>
====''Highway 61 Revisited'' and ''Blonde on Blonde''====
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[[File:Ginsberg-dylan.jpg|thumb|left|alt=Dylan, wearing a hat and leather coat, plays guitar and sings, seated. Crouched next to him is a bearded man, listening to him with head bent.|Bob Dylan with [[Allen Ginsberg]] on the [[Rolling Thunder Revue]] in 1975]]
In the middle of 1975, Dylan championed boxer [[Rubin Carter|Rubin "Hurricane" Carter]], imprisoned for triple murder, with his ballad "[[Hurricane (Bob Dylan song)|Hurricane]]" making the case for Carter's innocence. Despite its length—over eight minutes—the song was released as a single, peaking at 33 on the US [[Billboard Hot 100|Billboard chart]], and performed at every 1975 date of Dylan's next tour, the [[Rolling Thunder Revue]].<ref group="a">According to Shelton, Dylan named the tour Rolling Thunder and then "appeared pleased when someone told him to [[Indigenous peoples of the Americas|native Americans]], rolling thunder means speaking the truth." A [[Cherokee]] [[Medicine man#The medicine man and woman in North America|medicine man]] named Rolling Thunder appeared on stage at Providence, RI, "stroking a feather in time to the music." Shelton (2011), p. 310.</ref><ref>{{cite news | title=Log of every performance of "Hurricane"| publisher=Bjorner's Still on the Road| date=August 20, 2006| url=http://www.bjorner.com/sixh.htm| access-date=July 7, 2013}}</ref> Running through late 1975 and again through early 1976, the tour featured about one hundred performers and supporters from the Greenwich Village folk scene, among them Ramblin' Jack Elliott, [[T-Bone Burnett]], [[Joni Mitchell]],<ref name=Kokay>{{cite web|author=Kokay, Les via Olof Björner|title=''Songs of the Underground: a collector's guide to the Rolling Thunder Revue 1975–1976''|year= 2000|url=http://www.bjorner.com/Underground.htm|access-date=February 18, 2007}}</ref><ref name=Sloman>{{cite book| author=Sloman, Larry|author-link=Larry Sloman|title=On The Road with Bob Dylan|publisher=Three Rivers Press|isbn=978-1-4000-4596-9|year=2002}}</ref> [[David Mansfield]], [[Roger McGuinn]], [[Mick Ronson]], [[Ronee Blakely]], Joan Baez and [[Scarlet Rivera]], whom Dylan discovered walking down the street, her violin case on her back.<ref>Gray (2006), p. 579.</ref> The tour encompassed the January 1976 release of the album ''[[Desire (Bob Dylan album)|Desire]]''. Many of ''Desire'''s songs featuring a [[travel literature|travelogue]]-like narrative style, influenced by Dylan's new collaborator, playwright [[Jacques Levy]].<ref>Heylin (2000), pp. 386–401.</ref><ref>Gray (2006), p. 408.</ref> The 1976 half of the tour was documented by a TV concert special, ''Hard Rain'', and the LP ''[[Hard Rain (Bob Dylan album)|Hard Rain]]''.
[[File:Bob Dylan 1978.jpg|thumb|upright|Dylan performing in the [[De Kuip]] Stadium, Rotterdam, June 23, 1978]]
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On October 1, 2007, Columbia Records released the triple CD retrospective ''[[Dylan (2007 album)|Dylan]]'', anthologizing his entire career under the ''Dylan 07'' logo.<ref>{{cite news|url=http://www.dylan07.com/ |title=''Dylan 07'' |access-date=September 7, 2008 |publisher=Sony BMG Music Entertainment |date=August 1, 2007 |url-status=dead |archive-url=https://web.archive.org/web/20080915080026/http://www.dylan07.com/ |archive-date=September 15, 2008 }}</ref> The sophistication of the ''Dylan 07'' marketing campaign was a reminder that Dylan's commercial profile had risen considerably since the 1990s. This became evident in 2004, when Dylan appeared in a TV advertisement for [[Victoria's Secret]].<ref>{{cite web | url=http://www.slate.com/articles/business/ad_report_card/2004/04/tangled_up_in_boobs.html| title=What's Bob Dylan Doing In A Victoria's Secret Ad? | work=[[Slate (magazine)|Slate]] | date=April 12, 2004| access-date=September 16, 2008}}</ref> In October 2007, he participated in a multi-media campaign for the 2008 [[Cadillac Escalade]].<ref>{{cite web | url=http://www.xmradio.com/dylan-cadillac/index.xmc | archive-url =https://web.archive.org/web/20080312084612/http://www.xmradio.com/dylan-cadillac/index.xmc | archive-date =March 12, 2008| title = Dylan, Cadillac| publisher=XM Radio| date = October 22, 2007| access-date=September 16, 2008}}</ref><ref>Dylan also devoted an hour of his [[Theme Time Radio Hour]] to the theme of "the Cadillac". He first sang about the car in his 1963 nuclear war fantasy, "Talkin' World War III Blues", when he described it as a "good car to drive—after a war".</ref> In 2009 he gave the highest profile endorsement of his career to date, appearing with rapper [[will.i.am]] in a [[Pepsi]] ad that debuted during [[Super Bowl XLIII]]. The ad opened with Dylan singing the first verse of "Forever Young" followed by will.i.am doing a [[Hip hop music|hip hop]] version of the song's third and final verse.<ref>{{cite news| url=https://www.theguardian.com/music/2009/jan/30/bob-dylan-pepsi-advertisement-superbowl| title=Bob Dylan to appear with Will.I.Am in Pepsi advertisement| author=Michaels, Sean| date=January 30, 2009| access-date=May 2, 2010|work=The Guardian |location=UK }}</ref>
''[[The Bootleg Series Vol. 8 – Tell Tale Signs: Rare and Unreleased 1989–2006|The Bootleg Series Vol. 8 – Tell Tale Signs]]'' was released in October 2008, as both a two-CD set and a three-CD version with a 150-page hardcover book. The set contains live performances and outtakes from selected studio albums from ''Oh Mercy'' to ''Modern Times'', as well as soundtrack contributions and collaborations with [[David Bromberg]] and [[Ralph Stanley]].<ref>{{cite news| url = http://usatoday30.usatoday.com/life/music/news/2008-07-28-dylan-telltale-signs_N.htm | title = Dylan Reveals Many Facets on 'Tell Tale Signs'| author=Gundersen, Edna| date = July 29, 2008 |work=USA Today }}</ref> The pricing of the album—the two-CD set went on sale for $18.99 and the three-CD version for $129.99—led to complaints about "rip-off packaging".<ref>{{cite news | url =http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/cd_reviews/article4859960.ece | archive-url =https://web.archive.org/web/20090504035249/http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/cd_reviews/article4859960.ece | url-status =dead | archive-date =May 4, 2009 | title = Tell Tale Signs| author=Cairns, Dan | date = October 5, 2008| access-date=October 6, 2008| work=The Sunday Times | location=London}}</ref><ref>{{cite web |url=http://bobdylanencyclopedia.blogspot.com/2008/08/tell-tale-signs-pt-3-money-doesnt-talk.html |title=Tell Tale Signs Pt. 3, Money Doesn't Talk ... |first=Michael |last=Gray |author-link=Michael Gray (author) |website=Bob Dylan Encyclopedia |date=August 14, 2008 |access-date=May 29, 2023}}</ref> The release was widely acclaimed by critics.<ref>{{cite web|url=https://www.metacritic.com/music/tell-tale-signs-the-bootleg-series-vol-8| title = Reviews of ''Tell Tale Signs''|access-date=October 26, 2008|website=Metacritic}}</ref> The abundance of alternative takes and unreleased material suggested to one reviewer that this volume of old outtakes "feels like a new Bob Dylan record, not only for the astonishing freshness of the material, but also for the incredible sound quality and organic feeling of everything here".<ref>{{cite web| url = https://www.allmusic.com/album/the-bootleg-series-vol-8-tell-tale-signs-rare-and-unreleased-1989-2006-mw0000795498| title = ''The Bootleg Series, Vol. 8: Tell Tale Signs – Rare and Unreleased 1989–2006''| author = Jurek, Thom| date = October 29, 2008| access-date=July 12, 2013| website = AllMusic}}</ref>
====''Together Through Life'' and ''Christmas in the Heart''====
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On Dylan's 70th birthday, three universities organized symposia on his work: the [[University of Mainz]],<ref>{{cite web| url=http://www.avl.uni-mainz.de/394.php| title=Bob Dylan und die Revolution der populären Musik| date=April 29, 2011| access-date=May 27, 2011| publisher=Johannes Gutenberg Universität Mainz| archive-date=April 1, 2011| archive-url=https://web.archive.org/web/20110401105801/http://www.avl.uni-mainz.de/394.php| url-status=dead}}</ref> the [[University of Vienna]],<ref>{{cite web| url=http://www.dylanvienna.at/dylan/Program.html| title=Refractions of Dylan – Cultural Appropriations of an American Icon| date=May 12, 2011| access-date=May 27, 2011| publisher=dylanvienna.at}}</ref> and the [[University of Bristol]]<ref>{{cite web| url=http://dylan-at-seventy.weebly.com/proceedings.html| title=The Seven Ages of Dylan| date=May 15, 2011| access-date=May 27, 2011| publisher=University of Bristol}}</ref> invited literary critics and cultural historians to give papers on aspects of Dylan's work. Other events, including tribute bands, discussions and simple singalongs, took place around the world, as reported in ''The Guardian'': "From Moscow to Madrid, Norway to Northampton and Malaysia to his home state of Minnesota, self-confessed 'Bobcats' will gather today to celebrate the 70th birthday of a giant of popular music."<ref>{{cite news| url=https://www.theguardian.com/music/2011/may/24/bob-dylan-70th-birthday/print| title=Bob Dylan at 70| author=Topping, Alexandra| date=May 24, 2011| access-date=May 27, 2011| work=The Guardian|location=London}}</ref>
Dylan's 35th studio album, [[Tempest (Bob Dylan album)|''Tempest'']], was released on September 11, 2012.<ref>{{cite news| url=https://
Volume 10 of Dylan's Bootleg Series, ''[[The Bootleg Series Vol. 10: Another Self Portrait (1969–1971)|Another Self Portrait (1969–1971)]]'', was released in August 2013.<ref>{{cite web| url=http://www.expectingrain.com/abc/Another_Self_Portrait_Press_Release.pdf| title=Another Self Portrait Press Release| date=July 16, 2013| access-date=September 12, 2013| publisher=expectingrain.com}}</ref> The album contained 35 previously unreleased tracks, including alternative takes and demos from Dylan's 1969–1971 recording sessions during the making of the ''Self Portrait'' and ''New Morning'' albums. The box set also included a live recording of Dylan's performance with the Band at the Isle of Wight Festival in 1969. Thom Jurek wrote, "For fans, this is more than a curiosity, it's an indispensable addition to the catalog."<ref>{{cite web| url = https://www.allmusic.com/album/release/another-self-portrait-1969-1971-the-bootleg-series-vol-10-mr0003992579| title=Another Self Portrait (1969–1971): The Bootleg Series, Vol. 10| author=Jurek, Thom| date=August 27, 2013| access-date=September 12, 2013| website=AllMusic}}</ref> Columbia Records released a boxed set containing all 35 Dylan studio albums, six albums of live recordings and a collection of non-album material (''Sidetracks'') as [[The Complete Album Collection Vol. 1 (album)|''Bob Dylan: Complete Album Collection: Vol. One'']], in November 2013.<ref>{{cite web| url=https://www.allmusic.com/album/the-complete-album-collection-vol-1-mw0002583484| title=Bob Dylan: The Complete Albums Collection, Vol. 1| author=Erlewine, Stephen| date=November 9, 2013| access-date=November 9, 2013| website=AllMusic}}</ref><ref>{{cite web| url=https://www.nme.com/news/bob-dylan/72891| title=Bob Dylan to release huge, career-spanning box set| date=September 26, 2013| access-date=September 30, 2013| work=NME}}</ref> To publicize the box set, an innovative video of "Like a Rolling Stone" was released on Dylan's website. The interactive video, created by director [[Vania Heymann]], allowed viewers to switch between 16 simulated TV channels, all featuring characters who are lip-synching the lyrics.<ref>{{cite magazine| url=https://www.rollingstone.com/music/news/bob-dylan-goes-interactive-in-like-a-rolling-stone-clip-20131119| title=Bob Dylan Goes Interactive in 'Like a Rolling Stone' Clip| author=Greene, Andy| date=November 19, 2013| access-date=September 25, 2015|magazine=Rolling Stone}}</ref><ref>{{cite magazine| url=https://www.rollingstone.com/music/news/inside-bob-dylans-brilliant-like-a-rolling-stone-video-20131120| title=Inside Bob Dylan's Brilliant 'Like a Rolling Stone' Video| author=Edwards, Gavin| date=November 20, 2013| access-date=November 21, 2013| magazine=Rolling Stone}}</ref>
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On July 7, 2022, [[Christie's]], London, auctioned a 2021 recording of Dylan singing "Blowin' in the Wind". The record was in an innovative "one of one" recording medium, branded as Ionic Original, which producer T Bone Burnett claimed "surpasses the sonic excellence and depth for which analogue sound is renowned, while at the same time boasting the durability of a digital recording."<ref>{{cite web| url=https://www.christies.com/features/an-ionic-original-recording-of-blowin-in-the-wind-12353-3.aspx?sc_lang=en| title='The pinnacle of recorded sound': a unique 2021 recording of Bob Dylan's 'Blowin' in the Wind' created using groundbreaking Ionic Original technology| date=June 20, 2022| access-date=August 1, 2022| website=Christie's}}</ref><ref>{{cite magazine| url=https://variety.com/2022/music/news/bob-dylan-t-bone-burnett-auction-ionic-original-disc-christies-interview-1235300576/| title=Why Did T Bone Burnett Record a Song With Bob Dylan That Only One Person Can Own? To Disrupt the Art Market| author=Willman, Chris| date=June 23, 2022| access-date=August 3, 2022| magazine=Variety}}</ref> The recording fetched GBP £1,482,000—equivalent to $1,769,508.<ref name=1.8>{{cite magazine| url=https://variety.com/2022/music/news/bob-dylan-auction-record-blowin-wind-sells-million-dollars-pounds-1235311170/| title=Newly Recorded Version of Bob Dylan's 'Blowin' in the Wind' Sells for Nearly $1.8 Million at Auction| author=Willman, Chris| date=July 7, 2022| access-date=August 3, 2022| magazine=Variety}}</ref><ref>{{cite web| url=https://www.christies.com/lot/lot-a-neofidelity-ionic-original-acetate-disc-of-6381194/?lid=1&from=relatedlot&intobjectid=6381194| title=A Neofidelity Ionic Original Acetate Disc Of A 2021 Recording Of 'Blowin' In The Wind' With Custom Walnut And White Oak Cabinet| date=July 7, 2022| access-date=August 30, 2022| website=christies.com}}</ref> In November, Dylan published ''[[The Philosophy of Modern Song]]'', a collection of 66 essays on songs by other artists. ''[[The New Yorker]]'' described it as "a rich, riffy, funny, and completely engaging book of essays".<ref>{{cite magazine| url=https://www.newyorker.com/magazine/2022/10/31/a-unified-field-theory-of-bob-dylan| title=A Unified Field Theory of Bob Dylan| author=Remnick, David| date=October 24, 2022| access-date=November 7, 2022| magazine=The New Yorker}}</ref> Other reviewers praised the book's eclectic outlook,<ref>{{cite news| url=https://www.theguardian.com/books/2022/nov/01/the-philosophy-of-modern-song-by-bob-dylan-review| title=The Philosophy of Modern Song by Bob Dylan review – an enlightening listen-along| author=O'Hagan, Sean| date=November 1, 2022| access-date=November 7, 2022|newspaper=The Guardian}}</ref> while some questioned its variations in style and dearth of female songwriters.<ref>{{cite news| url=https://www.nytimes.com/2022/11/07/books/bob-dylan-philosophy-of-modern-song.html?action=click&module=Well&pgtype=Homepage§ion=Books| title=Bob Dylan Breaks Down 66 Classic Tunes in His New Book| author=Garner, Dwight| date=November 7, 2022| access-date=November 8, 2022| newspaper=The New York Times}}</ref>
In January 2023, Dylan released ''[[The Bootleg Series Vol. 17: Fragments – Time Out of Mind Sessions (1996–1997)]]'' in multiple formats. The 5-CD version comprised a re-mix of the 1997 album "to sound more like how the songs came across when the musicians originally played them in the room" without the effects and processing which producer Daniel Lanois applied later; 25 previously unreleased out-takes from the studio sessions; and a disc of live performances of each song on the album performed by Dylan and his band in concert.<ref name=TOOM>{{cite web| url=https://bestclassicbands.com/dylan-time-mind-bootleg-17-review-1-25-23/| title=Bob Dylan's Brilliant 'Time Out of Mind' Gets the Box Set Treatment: Review| author=Burger, Jeff| date=January 25, 2023| access-date=January 27, 2023| website=bestclassicbands.com}}</ref> On November 17, 2023, Dylan released ''[[The Complete Budokan 1978]]'', containing the full recordings of the February 28 and March 1 Tokyo concerts from his 1978 Tour.<ref>{{cite web|url=https://www.metacritic.com/music/the-complete-budokan-1978-live/bob-dylan|title=The Complete Budokan 1978 [Live] by Bob Dylan critic reviews |website=[[Metacritic]]|access-date=September 16, 2024}}</ref>
Dylan contributed a cover version of [[Cole Porter]]'s song "[[Don't Fence Me In (song)|Don't Fence Me In]]" to the soundtrack of the biographical film ''[[Reagan_(2024_film)|Reagan]]'', which was released on August 30, 2024.<ref>{{cite web|url=https://www.rollingstone.com/music/music-news/bob-dylan-dont-fence-me-in-ronald-reagan-biopic-1235082418/| title=Bob Dylan to Cover 'Don't Fence Me In' for Ronald Reagan biopic| author = Kreps, Daniel| date = August 17, 2024| access-date = September 15, 2024 | website = rollingstone.com}}</ref> On September 20, 2024, Dylan released ''The 1974 Live Recordings'', a 27-disc CD boxset of recordings from the 1974 Bob Dylan & The Band tour, featuring 417 previously unreleased live tracks.<ref>{{cite web| url = https://www.metacritic.com/music/the-1974-live-recordings-box-set/bob-dylan| title = The 1974 Live Recordings critics' reviews| date = September 20, 2024| access-date = September 20, 2024| website = metacritic.com}}</ref>
==Never Ending Tour==
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In September 2021, Dylan's touring company announced a series of tours which were billed as the "[[Rough and Rowdy Ways World Wide Tour|Rough and Rowdy Ways World Wide Tour, 2021–2024]]". The Rough and Rowdy Ways World Tour replaced Dylan's varied set lists with a more stable repertory, performing nine of the ten songs on his [[Rough and Rowdy Ways|2020 album]]. <ref>{{cite web| url = https://www.mojo4music.com/articles/stories/bob-dylan-live-in-austin-review/#| title =Bob Dylan Live In Austin Review: Latest chapter of The Never Ending Tour comes to a masterful close| author =Blackstock, Peter| date = April 6, 2024| access-date = April 8, 2024| website = mojo4music.com}}</ref> Nevertheless, the tour has been referred to by the media as an extension of his ongoing Never Ending Tour.<ref>{{Cite web|last=Levy|first=Piet|title=Bob Dylan is resuming his 'Never Ending Tour,' beginning with a show at Milwaukee's Riverside Theater|url=https://www.jsonline.com/story/entertainment/music/2021/09/27/bob-dylan-resuming-his-never-ending-tour-beginning-show-milwaukees-riverside-theater/5883872001/|access-date=2022-01-03|website=Milwaukee Journal Sentinel|language=en-US}}</ref>
On June 21, 2024, Dylan initiated the Outlaw Music Festival Tour, sharing the bill with [[Willie Nelson]] and other musicians.<ref>{{cite magazine| url = https://www.rollingstone.com/music/music-live-reviews/bob-dylan-set-surprise-covers-outlaw-tour-1235045065/| title = Bob Dylan Stuns Fans With New Set, Surprise Covers on Outlaw Festival Launch| author = Greene, Andy| date = June 22, 2024| access-date = June 24, 2024| magazine = Rolling Stone}}</ref> Dylan's setlist during this tour departed from the Rough and Rowdy Ways Tour by including songs from throughout his career as well as several covers.<ref>{{cite magazine| url = https://www.rollingstone.com/music/music-features/bob-dylan-outlaw-tour-setlist-guide-1235053746/| title = Bob
==Personal life==
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Dylan has supported the [[Chabad|Chabad Lubavitch]] movement,<ref>Fishkoff, p. 167.</ref> and has privately participated in Jewish religious events, including his sons' Bar Mitzvahs and services at [[Hadar Hatorah]], a [[Chabad Lubavitch]] [[yeshiva]]. In 1989 and 1991, he appeared on the Chabad [[telethon]].<ref>Heylin (1996), pp. 317, 343.</ref>
Dylan has continued to perform songs from his gospel albums in concert, occasionally covering traditional religious songs. He has made passing references to his religious faith, such as in a 2004 interview with ''[[60 Minutes]]'', when he told [[Ed Bradley]], "the only person you have to think twice about lying to is either yourself or to God". He explained his constant touring schedule as part of a bargain he made a long time ago with the "chief commander—in this earth and in the world we can't see".<ref name="60minutes2005">{{cite news| url = https://www.cbsnews.com/
Speaking to Jeff Slate of ''[[The Wall Street Journal]]'' in December 2022, Dylan reaffirmed his religious outlook: "I read the scriptures a lot, meditate and pray, light candles in church. I believe in damnation and salvation as well as [[predestination]]. The [[Five Books of Moses]], [[Pauline Epistles]], [[Intercession of saints|Invocation of the Saints]], all of it."<ref>{{cite web| url = https://www.bobdylan.com/news/bob-dylan-interviewed-by-wall-street-journals-jeff-slate/| title = Bob Dylan Q&A about "The Philosophy of Modern Song"| author = Slate, Jeff| date = December 20, 2022| access-date = December 22, 2022
| website = bobdylan.com}}</ref><ref>{{cite news| url = https://www.wsj.com/articles/bob-dylan-interview-11671471665?mod=life_work_featured_strip_pos1| title = Bob Dylan on Music's Golden Era vs Streaming: 'Everything's Too Easy'| author = Slate, Jeff| date = December 19, 2022| access-date = December 22, 2022|newspaper = The Wall Street Journal}}</ref>
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For many critics, Dylan’s greatest achievement was the cultural synthesis exemplified by his mid-1960s trilogy of albums—''Bringing It All Back Home'', ''Highway 61 Revisited'' and ''Blonde on Blonde''. In [[Mike Marqusee]]'s words:
{{blockquote|Between late 1964 and the middle of 1966, Dylan created a body of work that remains unique. Drawing on folk, blues, country, R&B, rock'n'roll, gospel, [[British beat]], [[
Dylan's lyrics began to receive critical study as early as 1998, when [[Stanford University]] sponsored the first international academic conference on Bob Dylan held in the United States.<ref>{{Cite web|date=March 7, 2017|title=Dylan Conference|url=https://tinomarkworth.com/dylan-conference/|access-date=February 12, 2023|website=tinomarkworth.com|language=en}}</ref> In 2004, [[Richard F. Thomas]], [[Classics]] professor at [[Harvard University]], created a freshman seminar titled "Dylan", which aimed "to put the artist in context of not just popular culture of the last half-century, but the tradition of classical poets like [[Virgil]] and [[Homer]]."<ref>{{cite news| url=https://www.nytimes.com/2016/10/15/arts/music/bob-dylan-101-a-harvard-professor-has-the-coolest-class-on-campus.html| title=Bob Dylan 101: A Harvard Professor Has the Coolest Class on Campus| author=Schuessler, Jennifer| date=October 14, 2016 |access-date=February 13, 2024|newspaper=The New York Times}}</ref> Thomas went on to publish ''Why Bob Dylan Matters'', exploring Dylan's connections with [[Classical antiquity|Greco-Roman literature]].<ref>{{cite web| url=https://www.npr.org/2017/11/21/563736161/a-classics-professor-explains-why-bob-dylan-matters| title= A Classics Professor Explains 'Why Bob Dylan Matters'| author=Heller, Jason| date=November 21, 2017 |access-date = February 13, 2024| website=npr.org}}</ref> Literary critic [[Christopher Ricks]] published ''[[Dylan's Visions of Sin]]'', an appreciation of Dylan's work.<ref>{{cite news| last=Lethem| first=Jonathan| title=Alfred Tennyson, A. E. Housman. Now This.| date=June 13, 2004| work=The New York Times| url=https://archive.nytimes.com/query.nytimes.com/gst/fullpage-9C04E3D91030F930A25755C0A9629C8B63.html}}</ref> Following Dylan's Nobel win, Ricks reflected: "I'd not have written a book about Dylan, to stand alongside my books on [[John Milton|Milton]] and [[John Keats|Keats]], [[Alfred, Lord Tennyson|Tennyson]] and [[T.S. Eliot]], if I didn't think Dylan a genius of and with language."<ref>{{cite news| url=https://www.irishtimes.com/culture/books/bob-dylan-s-nobel-prize-divides-irish-writers-and-literary-critics-1.2828753| title=Bob Dylan's Nobel Prize divides Irish writers and literary critics| author=Doyle, Martin| date=October 13, 2016| access-date=December 15, 2016| newspaper=The Irish Times}}</ref> The critical consensus that Dylan's songwriting was his outstanding creative achievement was articulated by ''[[Encyclopædia Britannica]]'': "Hailed as the [[Shakespeare]] of his generation, Dylan ... set the standard for lyric writing."<ref name =EncBr>{{cite encyclopedia| url=https://www.britannica.com/biography/Bob-Dylan-American-musician| title=Bob Dylan: American musician| author=Al Kooper| access-date=November 5, 2016| encyclopedia=Encyclopædia Britannica| author-link=Al Kooper}}</ref> Former British [[poet laureate]] [[Andrew Motion]] said Dylan's lyrics should be studied in schools.<ref>{{cite news| url=http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/poetry/article2503109.ece| archive-url=https://web.archive.org/web/20100530105239/http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/poetry/article2503109.ece| url-status=dead| archive-date=May 30, 2010| title=Andrew Motion explains why Bob Dylan's lyrics should be studied in schools| author=Motion, Andrew| date=September 22, 2007| access-date=October 10, 2008| work=The Times| location=London}}</ref> His lyrics have entered the vernacular; [[Edna Gundersen]] notes that<blockquote>Lines that branded Dylan a poet and counterculture valedictorian in the '60s are imprinted on the culture: "When you got nothing, you got nothing to lose"; "a hard rain's a-gonna fall"; "to live outside the law you must be honest." Some lyrics — "you don't need a weather man to know which way the wind blows" and "the times they are a-changin' " — appear in ''[[Bartlett's Familiar Quotations]]''.<ref name =Gund2001>{{cite news| title=Times change, but Dylan leaves a lasting imprint| last=Gundersen| first=Edna| work=[[USA Today]]| date=May 17, 2001| url=http://usatoday30.usatoday.com/life/music/2001-05-bob-dylan.htm}}</ref></blockquote>
''[[Rolling Stone]]'' ranked Dylan first on its 2015 list of the [[Rolling Stone's 100 Greatest Songwriters of All Time|100 Greatest Songwriters of All Time]],<ref name="Rolling Stone 100 Greatest Songwriters">{{cite magazine|title=Bob Dylan – 100 Greatest Songwriters of All Time|url=https://www.rollingstone.com/music/lists/100-greatest-songwriters#bob-dylan|magazine=Rolling Stone|access-date=November 1, 2016}}</ref> fifteenth on its 2023 list of the Greatest Singers of All Time,<ref>{{Cite magazine|date=January 1, 2023|title=The 200 Greatest Singers of All Time|url=https://www.rollingstone.com/music/music-lists/best-singers-all-time-1234642307/bob-dylan-53-1234643193/|access-date=October 13, 2023|magazine=Rolling Stone|language=en-US}}</ref> and placed "[[Like A Rolling Stone]]" first on their [[Rolling Stone's 500 Greatest Songs of All Time|list of greatest songs]] in 2004 and 2011.<ref name="LARS"/> He was listed second on the magazine's [[Rolling Stone's 100 Greatest Artists of All Time|list of the hundred greatest artists]].<ref>{{cite magazine| last=Robertson| first=Robbie| title=100 Greatest Artists: Bob Dylan| magazine=Rolling Stone| url=https://www.rollingstone.com/music/music-lists/100-greatest-artists-147446/bob-dylan-10-31068/}}</ref> The ''Rolling Stone Encyclopedia of Rock & Roll'' writes that "His lyrics—the first in rock to be seriously regarded as literature—became so well known that politicians from [[Jimmy Carter]] to [[Václav Havel]] have cited them as an influence."<ref name=":R&REncylopedia">{{cite book| title=Rolling Stone Encyclopedia of Rock & Roll| date=2001}}</ref>
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Dylan's voice also received critical attention. [[Robert Shelton (critic)|Robert Shelton]] described his early vocal style as "a rusty voice suggesting Guthrie's old performances, etched in gravel like [[Dave Van Ronk]]'s".<ref>Shelton, pp. 108–111.</ref> His voice continued to develop as he began to work with rock'n'roll backing bands; [[Michael Gray (author)|Michael Gray]] described the sound of Dylan's vocal work on "[[Like a Rolling Stone]]" as "at once young and jeeringly cynical".<ref>Gray (2006), p. 413.</ref> As Dylan's voice aged during the 1980s, for some critics, it became more expressive. Christophe Lebold writes in the journal ''[[Oral Tradition (journal)|Oral Tradition]]'': <blockquote>Dylan's more recent broken voice enables him to present a world view at the sonic surface of the songs—this voice carries us across the landscape of a broken, fallen world. The anatomy of a broken world in "[[Everything is Broken]]" (on the album ''[[Oh Mercy]]'') is but an example of how the thematic concern with all things broken is grounded in a concrete sonic reality.<ref>{{cite web| url=https://journal.oraltradition.org/wp-content/uploads/files/articles/22i/Lebold.pdf| title=A Face like a Mask and a Voice that Croaks: An Integrated Poetics of Bob Dylan's Voice, Personae, and Lyrics| author=Lebold, Christophe| date=March 1, 2007| access-date=May 3, 2010| work=Oral Tradition }}</ref></blockquote>
Among musicians who have acknowledged his influence are [[John Lennon]],<ref>Lennon: "In Paris in 1964 was the first time I ever heard Dylan at all. Paul got the record (''The Freewheelin' Bob Dylan'') from a French DJ. For three weeks in Paris we didn't stop playing it. We all went potty about Dylan.": Beatles, (2000), ''The Beatles Anthology'', pp. 112–114.</ref> [[Paul McCartney]],<ref>McCartney: "I'm in awe of Bob ... He hit a period where people went, 'Oh, I don't like him now.' And I said, 'No. It's Bob Dylan.' To me, it's like Picasso, where people discuss his various periods, 'This was better than this, was better than this.' But I go, 'No. It's Picasso. It's all good.' "{{cite news| url=http://music.avclub.com/paul-mccartney-1798211806| title=Paul McCartney interview| author=Siegel, Robert| date=June 27, 2007| access-date=August 25, 2015| work=A.V. Club| archive-date=August 25, 2017| archive-url=https://web.archive.org/web/20170825102000/http://music.avclub.com/paul-mccartney-1798211806| url-status=dead}}</ref> [[Jerry Garcia]],<ref>{{cite book| last=Richardson| first=P.| title=No Simple Highway| publisher=St. Martin's Press| year=2015| isbn=978-1-250-01062-9| url=https://archive.org/details/nosimplehighwayc0000rich| url-access=registration| access-date=May 13, 2016| page=[https://archive.org/details/nosimplehighwayc0000rich/page/150 150]|quote=Dylan's influence on Garcia and Hunter was a given; both admired his songwriting and thought he gave rock music a modicum of respectability and authority. "He took [rock music] out of the realm of ignorant guys banging away on electrical instruments and put it somewhere else altogether," Garcia said later.}}</ref> [[Pete Townshend]],<ref>"They asked me what effect Bob Dylan had on me," Townshend said. "That's like asking how I was influenced by being born." Flanagan, (1990), ''Written In My Soul'', p. 88.</ref> [[Syd Barrett]],<ref>{{cite web| url=http://www.pink-floyd.org/barrett/sydlyrics.html#misc| title=Bob Dylan Blues| author=Barrett, Syd| access-date=May 4, 2010| publisher=pink floyd.org}}</ref> [[Joni Mitchell]],<ref>Mitchell: “I can’t really pick just one because I like so many, but the Dylan song that really grabbed me was ‘Positively Fourth Street’ and the reason for that was the subject matter seemed at the time so unique. What it said to me, not only is this a good song, but it means that we can now sing about any kind of emotion. I don’t think there was a song before that that defined the kind of hurt expressed in that song. It widened the scope of possibilities for songwriters.”{{cite news| author=Hilburn, Robert| date=May 19, 1991| access-date=August 18, 2011| work=Los Angeles Times| url=https://
Dylan significantly contributed to the initial success of both [[the Byrds]] and [[the Band]]: the Byrds achieved chart success with their version of "[[Mr. Tambourine Man#The Byrds' version|Mr. Tambourine Man]]" and the [[Mr. Tambourine Man (album)|subsequent album]], while the Band were Dylan's backing band [[Bob Dylan World Tour 1966|on his 1966 tour]], recorded ''The Basement Tapes'' with him in 1967<ref>{{cite web| url=http://www.bobdylan.com/albums/basement-tapes/| title=The Basement Tapes (1975)| author=Marcus, Greil| date=April 10, 2010| access-date=July 1, 2017| publisher = bobdylan.com}}</ref> and featured three previously unreleased Dylan songs on their [[Music From Big Pink|debut album]].<ref>Hoskyns, pp. 153–157.</ref> [[Johnny Cash]], introducing "Wanted Man", said "I don't have to tell you who Bob Dylan is—the greatest writer of our time."<ref>"Johnny Cash, from the intro to "Wanted Man", ''[[At San Quentin]]'', recorded February 24, 1969.</ref>
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Dylan's visual art was first seen by the public via a painting he contributed for the cover of [[The Band]]'s ''[[Music from Big Pink]]'' album in 1968.<ref>{{cite web|last1=Sutherland|first1=Sam|title=The Band's Pioneering 'Music From Big Pink'|url=https://bestclassicbands.com/band-big-pink-review-5-21-188/|access-date=June 8, 2021|website=Best Classic Bands|date=July 5, 2020|language=en-GB}}</ref> The cover of Dylan's own 1970 album [[Self Portrait (Bob Dylan album)|''Self Portrait'']] features the painting of a human face by Dylan.<ref>Bell, 2012, ''Once Upon a Time: The Lives of Bob Dylan.'' p. 524.</ref> More of Dylan's artwork was revealed with the 1973 publication of his book ''[[Writings and Drawings]]''.<ref>{{cite web|title=Writings And Drawings by Bob Dylan|url=https://www.bobdylan-comewritersandcritics.com/pages/books/writings-drawings-proof-copy.htm|access-date=June 8, 2021|website=www.bobdylan-comewritersandcritics.com}}</ref> The cover of Dylan's 1974 album ''[[Planet Waves]]'' again featured one of his paintings. In 1994 [[Random House]] published ''Drawn Blank'', a book of Dylan's drawings.<ref>{{Cite book|first=Bob|last=Dylan|title=Drawn Blank |publisher= [[Random House]]|year=1994|isbn= 978-0-679-41788-0}}</ref> In 2007, the first public exhibition of Dylan's paintings, ''The Drawn Blank Series'', opened at the Kunstsammlungen in [[Chemnitz]], Germany;<ref name="EncyclopediaDrawn"/> it showcased more than 200 watercolors and [[gouache]]s made from the original drawings. The exhibition coincided with the publication of ''Bob Dylan: The Drawn Blank Series'', which includes 170 reproductions from the series.<ref name="EncyclopediaDrawn">{{cite web|last=Gray|first=Michael|title=Dylan's Drawn Blank Paintings Exhibition|url=http://bobdylanencyclopedia.blogspot.co.uk/2007/08/dylans-drawn-blank-paintings-exhibition.html|publisher=BobDylanEncyclopediablogspot.com|access-date=June 11, 2012}}</ref><ref name="NYTimesArtist">{{cite news | url = https://www.nytimes.com/2008/06/01/books/review/Pessl-t.html | last = Pessl | first = Marsha | title = When I Paint My Masterpiece | work=[[The New York Times Book Review]] | date = June 1, 2008 | access-date=October 20, 2010}}</ref> From September 2010 until April 2011, the [[Statens Museum for Kunst|National Gallery of Denmark]] exhibited 40 large-scale acrylic paintings by Dylan, ''The Brazil Series''.<ref>{{cite news| url = https://www.independent.co.uk/arts-entertainment/art/news/bob-dylan-paintings-at-danish-national-gallery-2068935.html| title = Bob Dylan paintings at Danish National Gallery| author=Battersby, Matilda| date = September 2, 2010| access-date=September 9, 2010| work=The Independent| location=London}}</ref>
In July 2011, a leading contemporary art gallery, [[Gagosian Gallery]], announced their representation of Dylan's paintings.<ref>{{cite web| url = http://www.artnet.com/magazineus/news/artnetnews/bob-dylan-gagosian-gallery.asp| title = Dylan at Gagosian Gallery| author = Corbett, Rachel| date = July 27, 2011| access-date=July 31, 2011| publisher = artnet.com}}</ref> An exhibition of Dylan's art, ''The Asia Series'', opened at the Gagosian Madison Avenue Gallery on September 20, displaying Dylan's paintings of scenes in China and the Far East.<ref>{{cite web| url = http://www.gagosian.com/exhibitions/bob-dylan---september-20-2011| title = Bob Dylan: The Asia Series| date = September 10, 2011| access-date = December 12, 2012| publisher = gagosian.com| archive-date = September 15, 2017| archive-url = https://web.archive.org/web/20170915035034/http://www.gagosian.com/exhibitions/bob-dylan---september-20-2011| url-status = dead}}</ref> ''The New York Times'' reported that "some fans and Dylanologists have raised questions about whether some of these paintings are based on the singer's own experiences and observations, or on photographs that are widely available and were not taken by Mr. Dylan". ''The Times'' pointed to close resemblances between Dylan's paintings and historic photos of Japan and China, and photos taken by [[Dmitri Kessel]] and [[Henri Cartier-Bresson]].<ref>{{cite news| url = http://artsbeat.blogs.nytimes.com/2011/09/26/questions-raised-about-dylan-show-at-gagosian/| title = Questions Raised About Dylan Show at Gagosian| author = Itzkoff, Dave| date = September 26, 2011| access-date=September 27, 2011| work = The New York Times}}</ref> Art critic [[Blake Gopnik]] has defended Dylan's artistic practice, arguing: "Ever since the birth of photography, painters have used it as the basis for their works: [[Edgar Degas]] and [[Édouard Vuillard]] and other favorite artists—even [[Edvard Munch]]—all took or used photos as sources for their art, sometimes barely altering them".<ref>{{Cite news| url = https://www.thedailybeast.com/bob-dylan-accused-of-plagiarizing-famous-photos-in-his-new-art-show| title = Bob Dylan Accused of Plagiarizing Famous Photos in His New Art Show| author = Gopnik, Blake| date = September 28, 2011| access-date = April 13, 2018| publisher = thedailybeast.com| newspaper = The Daily Beast}}</ref> The [[Magnum Photos|Magnum photo agency]] confirmed that Dylan had licensed the reproduction rights of these photographs.<ref>{{cite web| url = http://blogs.artinfo.com/artintheair/2011/10/01/bob-dylan-paid-to-license-asia-series-photos-magnum-says/| title = Bob Dylan Paid to License ''Asia Series'' Photos, Magnum Says| date = October 1, 2011| access-date = October 4, 2011| work = Art+Auction| url-status=dead| archive-url = https://web.archive.org/web/20111007073205/http://blogs.artinfo.com/artintheair/2011/10/01/bob-dylan-paid-to-license-asia-series-photos-magnum-says/| archive-date = October 7, 2011| df = mdy-all}}</ref>
Dylan's second show at the Gagosian Gallery, ''Revisionist Art'', opened in November 2012. The show consisted of thirty paintings, transforming and satirizing popular magazines, including ''[[Playboy]]'' and ''[[Babytalk (magazine)|Babytalk]]''.<ref>{{cite web| url = http://www.gagosian.com/exhibitions/bob-dylan--november-28-2012| title = Gagosian Gallery artists: Bob Dylan| date = November 20, 2012| access-date = December 12, 2012| publisher = gagosian.com| archive-date = March 15, 2018| archive-url = https://web.archive.org/web/20180315182615/https://www.gagosian.com/exhibitions/bob-dylan--november-28-2012| url-status = dead}}</ref><ref>{{cite news| url = https://www.nytimes.com/2012/12/14/arts/design/revisionist-art-thirty-works-by-bob-dylan.html| title = Revisionist Art: Thirty Works by Bob Dylan| author = Smith, Roberta| date = December 13, 2012| access-date=December 14, 2012| work = The New York Times}}</ref> In February 2013, Dylan exhibited the ''New Orleans Series'' of paintings at the [[Royal Palace of Milan|Palazzo Reale]] in Milan.<ref>{{cite web| url = http://www.huffingtonpost.co.uk/2013/02/06/bob-dylans-new-orleans-se_n_2629294.html| title = Bob Dylan's 'New Orleans Series' Goes On Display In Milan| author = Parker, Sam| date = February 6, 2013| access-date=February 9, 2013| work = HuffPost}}</ref> In August 2013, Britain's [[National Portrait Gallery, London|National Portrait Gallery]] in London hosted Dylan's first major UK exhibition, ''Face Value'', featuring twelve pastel portraits.<ref>{{cite web| url = http://www.theartsdesk.com/visual-arts/bob-dylan-face-value-national-portrait-gallery| title = Bob Dylan: Face Value, National Portrait Gallery| author = Güner, Fisun| date = August 24, 2013| access-date=August 26, 2013| publisher = TheArtsDesk.com}}</ref>
In November 2013, the [[Halcyon Gallery]] in London mounted ''Mood Swings'', an exhibition in which Dylan displayed seven wrought iron gates he had made. In a statement released by the gallery, Dylan said, <blockquote>I've been around iron all my life ever since I was a kid. I was born and raised in iron ore country, where you could breathe it and smell it every day. Gates appeal to me because of the negative space they allow. They can be closed but at the same time they allow the seasons and breezes to enter and flow. They can shut you out or shut you in. And in some ways there is no difference.<ref>{{cite web| url = http://www.artlyst.com/articles/the-legendary-bob-dylan-unveils-seven-iron-gates-sculpture| title = The Legendary Bob Dylan Unveils Seven Iron Gates Sculpture| date = September 24, 2013| access-date=November 16, 2013
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Since 1994, Dylan has published [[Bob Dylan bibliography#Art books by Bob Dylan|nine books of paintings and drawings]].<ref>''Drawn Blank'', Random House (November 15, 1994); ''Bob Dylan: The Drawn Blank Series'', Prestel (March 31, 2008); ''Bob Dylan: The Brazil Series'', Prestel (October 25, 2010); ''Bob Dylan: The Asia Series'', Gagosian Gallery (October 12, 2011); ''Revisionist Art: Thirty Works by Bob Dylan'', Harry N. Abrams (March 26, 2013); ''Bob Dylan: Face Value'', National Portrait Gallery (February 28, 2014); ''The Beaten Path'', Halcyon Gallery (November 5, 2016); ''Mondo Scripto'', Halcyon Gallery, (October 1, 2018); ''Bob Dylan: Retrospectrum'', Skira Editore, (March 1, 2023)</ref> In November 2022, Dylan apologized for using an [[autopen]] to sign books and artwork which were subsequently sold as "hand-signed" since 2019.<ref>{{cite web| url = https://www.facebook.com/bobdylan/posts/697295788427537 | title = To my fans and followers| author = Dylan, Bob| date = November 26, 2022| access-date = November 29, 2022| website = Facebook}}</ref><ref>{{Cite news |date=November 28, 2022 |title=Bob Dylan apologises for machine-printed 'signatures' |language=en-GB |work=BBC News |url=https://www.bbc.com/news/entertainment-arts-63779904 |access-date=November 28, 2022}}</ref>
In 2024 an abstract painting by Dylan from the late 1960s sold at auction for approximately $200,000. The painting was originally given to a relative of the seller in exchange for an astrology chart.<ref>{{Cite magazine |last=Spanos |first=Brittany |date=2024-05-28 |title=Rare Bob Dylan Painting Fetches Nearly $200K at Auction |url=https://www.rollingstone.com/music/music-news/rare-bob-dylan-painting-sells-nearly-200k-at-auction-1235028375/ |access-date=2024-08-09 |magazine=[[Rolling Stone]] |language=en-US}}</ref>
==Written works==
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