Captain Wright, one of the subjects in transgender artist Ria Brodell’s paintings, lived until his death in 1834 with Mrs Wright and an abundance of rabbits. They were “respectable gentlefolks”, according to Brodell’s extensive research. When Captain Wright died, his neighbors were astonished to learn that he had a body that would be assigned as female. Demoted to a “creature” by the newspaper, his body attracted a crowd of curious spectators. Captain Wright is one in Brodell’s series Butch Heroes, which reimagines historic men who were assigned as female in the format of Catholic holy cards. The portraits – some of which are currently on view at the Henry Art Gallery in Seattle as part of the show Trans Hirstory in 99 Objects – are touching and amusing at times. They speak eloquently to the fraught history and present of the transgender community.
It’s an interesting moment for trans art in the US, as arts organizations large andsmall are finally bringing recognition to an ingenuous people and powerful movement. The Museum of the City of New York features Gay Gotham, a show that chronicles queer creative networks in 20th-century New York, and the Leslie-Lohman Museum for Gay and Lesbian Art is in the process of nearly doubling its footprint. It also recently created the Hunter O’Hanian Diversity Art Fund to collect artworks from primarily female and transgender artists. Yet Donald Trump’s election has given the LGBTQ community new reasons to fear for their safety. Mike Pence advocates for “gay conversion therapy” and Trump has pledged to sign the First Amendment Defense Act, which would give businesses and landlords the right to discriminate against gay and transgender people. Since the election, 43 anti-LGBTQ incidents have already been reported to the Southern Poverty Law Center.