#Tate Museum

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The Lady of Shalott, John William Waterhouse (1888). Tate Britain

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It's not bad enough they let works by men into a Women’s Art exhibit but they features these freaks?

By Genevieve Gluck December 30, 2023

A prestigious art museum in London has prompted backlash after featuring trans-identified males in a historical exhibition of the women’s liberation movement. The Women in Revolt! exhibit is a first of its kind project offering “a wide-ranging exploration of feminist art” made by over 100 female artists during the period between 1970 – 1990.

While the exhibit purports to amplify the work of women, some female visitors to the museum quickly noticed that a number of trans-identified males had been slipped in among the displays.

One of the most disturbing pieces include archival copies of a publication created by men with a sexual fetish for pretending to be women, including one letter from a transvestite who complains of being jealous of his wife.

“Once I had admitted my true inner self to others I felt great relief, and thereupon decided to be myself all the time and live life as it suited me and not as the way I had been committed to live since coming out of the womb,” reads the letter, written by a man identified as “Julia.”

“Prior to this, my marriage (to a woman), had broken up and my wife was seeking a divorce together with the custody of the children because of my attitude to life, namely brought about because of my jealousy of her femininity and her ability to become pregnant and know true happiness within the straight society.”

The admission was one of several personal anecdotes contained within a magazine primarily catering to gay men called “Come Together.”

Information on the exhibit was first posted to X by women’s rights advocate @Sorelle_Arduino, who visited the exhibit yesterday and uploaded photos to her social media showing displays featuring trans-identified males.

One of the photos snapped by the user was an abstract painting by transgender artist Erica Rutherford displayed next to Monica Sjöö’s iconic piece “Wages for Housework.” In the display’s description of Rutherford’s painting, it states that he was inspired by being brought “face to face with the humiliations” of being treated as a woman.

“No cultural womens event can happen any more without men. Art has become a simpering pile of conformist junk,” one user said in response to @Sorelle_Arduino‘s thread on the exhibit.

“It would be bigoted to talk about women without talking about the ones that are men,” another quipped sarcastically.

Other displays featured articles from newsletters produced by the Beaumont Society, a group created in order to advocate for heterosexual crossdressers to be allowed to practice their sexual fetish publicly.

Among their goals, according to the group’s website, is to “promote and assist the study of gender.” The lobby organization uses as its namesake the 18th century French nobleman Charles Chevalier d’Éon de Beaumont, who would assume the identity of a woman named Charlotte, and was officially recognized as a woman by King Louis XVI.

The Beaumont Society, which currently advocates for the medical ‘transitioning’ of minors, was founded in 1966 by four male transvestites, one of whom was a leading figure in the fetish movement in the United States. Virginia Charles Prince, born Arnold Lowman, aided in creating the organization as a branch of a secret society of transvestic fetishists, who called themselves Full Personality Expression (FPE), located in California.

Initially, the group, as well as others like it which began to spring up in the United Kingdom, the United States, and Australia at the time, refused membership to homosexuals, presumably on the basis that prominent transvestites did not want the practice associated with sexual motivations. In one newsletter printed by Virginia Prince, who is credited with having popularized the term ‘transgender,’ he writes: “Some of the more narrow-minded of our sister TV’s [transvestites] see nothing good in anything that homosexuals do, but personally I am all for their success and would cooperate in helping them to achieve it where I could out of pure self-interest for our group.”

Prince has also openly discussed the sexual nature of the crossdressing fetish. In 1985 he appeared in an HBO documentary titled, “What Sex am I?”, where he commented on the element of arousal involved, saying that it was a “turn on” for “almost everybody” who participates.

“You have to grow past the stage of being an erotically aroused male in a dress, which results eventually in an orgasm. But when the orgasm is over, if you continue to stay in the dress, you begin to discover there’s this other part of yourself. You cease being an erotically aroused male, and you simply become a man who becomes to recognize that, gee, there’s something nice about girlness that I’m enjoying experiencing,” Prince, a co-founder of The Beaumont Society, said.

In recent years The Beaumont Society has become increasingly influential within the government and the medical establishment. The group is listed as an advisor to the National Health Service (NHS) in England as well as in Wales.

This is not the first controversy involving the Tate Museum centering trans-identified males, with multiple incidents occurring over the past year that have raised concerns amongst women’s rights advocates.

In June, a trans activist known for staging protests involving human urine was invited to read poetry during the Queer and Now LGBTQIA+ art festival. Jamie Cottle was dressed in women’s lingerie during the reading, wearing white panties that had the words “Sugar Money” embroidered into the crotch.

Though Cottle’s presentation was said to be for ages 16 and up, there were even younger children in attendance in the nearby area, with no boundaries set up to prevent minors from entering.

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Monster Chetwynd (Alalia Chetwynd) (British b. 1973), Crazy Bat Lady, 2018. (Source: Tate Museum, London)

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George Barret Sr. (1730-1784) "River Scene with Watermill, Figures and Cows" Oil on canvas Located in the Tate, London, England

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”Symphony in White, No. 1: The White Girl” (1861-62)

“Symphony in White, No. 2: The Little White Girl” (1864)

by James McNeill Whistler

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Eugène Berman 

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Tate Britain Campaign Animated Gif

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View this post on Instagram

A post shared by Sook (@isookphotography)

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A Calder Mobile at the Tate

A Calder mobile conjures insect antennae, schoolroom solar systems, and a preying praying mantis. The mobile

speaks in silent echoes about the place of space, of empty intervals, in arts of every kind. Seeing the mobile quieted my mind.

by Hans Ostrom

Alexander Calder: 1898-1976

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David HOCKNEY TATE 2017

[pdf-embedder url=”https://vqt-blog.com/wp-content/uploads/2023/06/David_HOCKNEY_Retrospectiva_TATE_2017_In.pdf”%5D

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Ophelia by John Everett Millais (1852). Tate Gallery in London.

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A man in panties that said “SugarMoney” presented at an LGBTQ+ Art festival organized by three biological men.

A trans activist known for staging protests involving human urine was invited to perform at the Tate Museum on Sunday, where he gave a reading while dressed in women’s underwear. 

The event, part of Queer and Now, an LGBTQIA+ art festival, was organized by three trans-identified males; June Bellebono, Jamie Cottle, and Carly Yvoty Fernandez. The three read excerpts from their publication, oestrogeneration, a magazine describing itself as a “platform highlighting transfeminine voices in the UK.” Content on the publication’s website is overtly sexual and promotes the sex industry. 

The men who presented their publication read selected articles from the first issue, Tenacity, described as containing “essays covering orgasms, squatting and security culture,” which is self-lauded as “a dynamic display of the breadth of expressions our identities hold.”

“Mr. Menno,” a Dutch content creator who advocates for the rights of women and homosexuals, was in attendance at the event, and shared a number of disturbing photos and video clips to his Twitter.

In one video, Cottle can be seen reading an article aloud to an audience while wearing women’s lingerie. The crotch of the thong was emblazoned with the words “Sugar Money,” and Cottle’s testicle flesh appears to be faintly visible through the sides of the fabric.

Speaking with Reduxx, Menno explained that the presentation was intended for an audience aged 16 and older, but that no barriers had been put in place and events for children were actively occurring in other parts of the museum. 

“I didn’t see any children there at the time but the area was open, not closed off, no doors, anyone could come and go,” Menno said. “You could also go through this space to get to the room where the Museum of Transology had kid’s events.”

“[Cottle’s] whole outfit was geared to draw attention to his groin. It’s just so utterly bizarre to be face to face with guys who are clearly male calling themselves some kind of women. To me there’s something creepy about the name oestrogeneration, basing the identity of a whole generation of men around taking synthetic drugs to acquire female-typical hormone levels,” he said.

“I don’t know why I should somehow see them as my ‘siblings’ just because I’m gay. I want nothing to do with it. Yet this is ‘queer’ in the U.K. and I’m told this is my community,” Menno continued. “And at one point when the audience had gathered to listen to their talks he turned around to push the table back, showed his bum, giggled, and got some cheers from the audience.”

The most recent article featured on the oestrogenerationsite is called “Against All Odds, I Will Cum,” and is accompanied by an illustration of a childlike figure.

The author, a trans-identified man named Samantha Lacob, describes his masturbation habits after he began taking estrogen, and claims that he experiences “orgasm synesthesia.”

“Like most transfeminine people I was born with a penis… it was harder to achieve an erection and almost impossible to keep it, but also, not necessary. I got there in the end, a bit over 4 months after surgery and after a lot of wanking,” the article reads.

Featured on the cover of oestrogeneration is a trans-identifying male who has worked as a general practitioner for over 20 years. Dr. Kamilla Kamaruddin, originally from Malaysia, serves as a board member for Spectra, a non-profit organization which offers HIV testing, STI screening, gender identity workshops, and “social groups for young people.” 

Kamaruddin works for the National Health Service (NHS) and acts as the clinical lead for the East of England Gender Service, Cambridge. He campaigns to encourage the NHS to partner with transgender lobbying groups.

One article from oestrogeneration presented and written by Cottle, titled “A Strong Feeling of Desperation,” is written in the form of experimental prose and contains sexual language. 

“Walking here felt as it always does, my desires rendered in retinal surveillance; their lust, my lust, meeting, fleeting outside Oxford circus, in a primordial slime of the vitreous inside eyes… Gabriel’s angels brim with life, fakery, and lust; they are droplets of cum ossified into marrow and faux pearls sewn into satin.”

Cottle, a trans-identified male who uses the moniker “Biogal” on social media, is associated with a protest group that calls themselves Pissed Off Trannies, or POT. 

Twice in the past year, POT has staged demonstrations that involved dumping large quantities of human urine outside of the Equality and Human Rights Commission (EHRC) to protest laws that strengthen women’s protections. A recent Instagram post suggests they may be using water mixed with turmeric to supplement their urine.

Most recently, members of POT gathered outside of the EHRC on May 22 to leave 90 liters of their supposed waste around the perimeter of the building. 

The protest was in response to a recent statement by chief executive of the EHRC, Melanie Field, in which she affirmed the definition of “sex” in a show of support for protections for biological sex as a protected characteristic, as well as for plans to prevent trans-identified males from accessing women’s facilities on self-declaration.

“Pouring piss is an anarchist act of resistance that stakes an urgent and lingering claim on our basic human rights … If you take away our toilets we will make one on your doorstep,” POT stated in an Instagram post depicting the protest. 

After staging his first protest outside of the EHRC last year, Cottle boasted about his actions on Instagram, revealing his association with the group. As reported by Vice, during the demonstration, Cottle “pissed [himself] in [his] bejewelled gown, before pouring bottles of urine on [himself] and the pavement outside the building, all the while shouting: ‘The EHRC has blood on its hands and piss on its streets.'”

Other performances by Cottle, which he claims are demonstrations of trans activism, are similarly graphic.

In one performance from 2022, simply titled “FISH,”Cottle strips while slapping himself with a dead fish. In another from that same year, titled “Prayer for the Pearl Oyster,” Cottle is seen wearing women’s underwear, transparent platform heels, and a pearl necklace. He rips fabric, tosses about oysters, and screams while stomping on the shells. Cottle then begins writhing, strips naked, and removes a sex toy from his anus.

By Genevieve Gluck

Genevieve is the Co-Founder of Reduxx, and the outlet's Chief Investigative Journalist with a focused interest in pornography, sexual predators, and fetish subcultures. She is the creator of the podcast Women's Voices, which features news commentary and interviews regarding women's rights.

He was dressed like this

When not only kids were in the museum but there were kids events in the next room. This sounds like some kind of exhibitionist fetish. If kids saw him he could claim that kids weren’t supposed to see him. It was the parents fault for not making sure their kids were in the right room. You can’t be mad at an LGBTQ+ artist during an LGBTQ+ event, right?

Weird that for years the ideology was don’t make a big deal out of a trans woman’s penis because it makes them feel very insecure to not be like real women. And now they are dressing in outfits to draw attention to the groin.

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William Etty (British 1787–1849) Standing Female Nude. Oil paint on canvas, 1155 × 793 × 74 mm (Source: Tate Museum)

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Pollock Number 14 

Tate Modern

https://www.tate.org.uk/art/artworks/pollock-number-14-t03978