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Illma Gore painted Donald Trump with a tiny member to comment on preoccupation with penis size — now, 26 more figures are getting the honor

Illma Gore gained notoriety when she painted Donald Trump in the nude in 2016.

Erica Summers; Painting by Ilma Gore
On Wednesday, the painter Illma Gore unveiled the first of what will be 26 depictions of political and cultural figures, both contemporary and historic, ranging from international terrorists to saints to superheroes. The roster includes Harvey Weinstein, Brett Kavanaugh, Richard Spencer and Osama Bin Laden, along with Darth Vader, Superman, Albert Einstein, Pope Benedict XVI and Jesus Christ. There’s just one catch — they’re all being painted nude, with extremely tiny penises.
Small-genitalia portraiture is a familiar dive into controversial waters for Gore — she is, after all, best known for her portrait of a naked Donald Trump sporting a tiny penis, which went viral in February 2016. After posting the Trump piece on Facebook, she was banned from the site and publicly accused by some of body shaming the eventual president, including actress Amber Tamblyn. In the aftermath, Gore also said she was anonymously threatened with legal actions , held captive in an Uber , received death threats and was punched in the face by a Trump supporter .
Nonplussed, shortly after posting the first new portrait, that of a nude Kim Jong Un , Gore said in a text to Rolling Stone , “Let’s see if I get banned before I can put more up.”
But this time, Gore’s mission is to get a message about masculinity across more clearly. She tells Rolling Stone that the response to the Trump portrait became “disheartening,” because the furor over it proved to her that our cultural bias against modestly sized male genitalia — that small penises somehow determine a man’s value — is holding firm. To help ensure her disapproval of this perspective is more accurately understood with this new batch of work, Gore, 26, is offering an explanation of sorts up front, in the form of a written apology to the president.
“I am sincerely sorry for the role I played in the criticism of your body,” a portion of the statement on Gore’s website reads. “You, as a human being, do not deserve to be judged by fictional ideas of your body by anyone. … Your body, whatever it looks like and is capable of, does not define the job you do or your ability to do that job well.”
Gore, a gay, female Australian-American artist living in Los Angeles, is not being sarcastic, though there’s certainly an underlying irony.
“A lot of the stuff this administration has done is simply disgusting,” she tells Rolling Stone , but the original micro-penis portrait of the president was an experiment that had little to do with her personal feelings toward the then-GOP presidential candidate. With that piece, Gore had set out to show a female friend of hers that she held a bias against small penises — something her friend didn’t believe to be true. Gore painted the body of a male friend of hers, but put the sneering Trump mug in place of her model’s face because, Gore says, whether “you love him or you dislike him … Trump is someone who elicits a reaction.”
When Gore showed a sketch of the work to her female friend, “of course she immediately laughed,” Gore recalls. When she then asked her friend why she’d responded to it that way, the friend replied: “Because it’s funny; he has a small dick.”
“That’s exactly the bias that we hold,” Gore tells Rolling Stone .
In other words: Judge men not by their bulges, but by the content of their character.
In reflecting upon the original Trump portrait, Gore regrets ignoring her personal ideology about the human form when she knew some people would ridicule him. “The idea that the perception of your body would shape the way you interact with the world is really fucked up,” she tells Rolling Stone .
Still, Gore is releasing more portraits of men with tiny members in tandem with the apology to Trump. “In order to dismantle prejudice and stereotypes we must confront our biases head on,” she says as justification.
Gore chose the 26 new subjects because they, too, garner strong reactions from viewers, and people will bring their pre-determined perceptions of them into their interpretations of the nude portraits. If Superman becomes less heroic with a micro-penis, Einstein becomes less smart, Jesus becomes less chivalrous, or if Kanye West’s unhinged behavior and David Duke’s racism somehow make more sense if they have small schlongs, well, that’s on the viewer.
Since her controversial entrance into the art world, Gore’s been eager to paint more portraits of men like this, but only recently began to feel that the timing was right. “Tiny penises should have representation — naked women do!” she says. But in the wake of the Trump-piece controversy, Gore “didn’t want it to be, ‘Oh look, now it’s the tiny penis parade.’” If at that time she’d continued to release similar paintings, Gore adds, her message could have become even more misconstrued, emerging as a general middle finger to men in power, Facebook and her critics. “I love ‘fuck the establishment,’ but … I didn’t want [the art] to be for any other reason than what I believed in,” Gore says.
And the same point can be made about how the heavyset people in the portraits are received. If some think she’s body-shaming her subjects, “then that is a reflection of their own self,” Gore asserts. “It depends on the individual’s own standard of what is ‘bad’” in terms of body shape.
In short, Gore doesn’t want anyone to be judged solely by their bodies, or body parts — not even the president, who she says has actually led her to believe in democracy more since his election.
Admitting that she comes from a relatively “privileged standpoint” as a white person, she says, “To even have a person like this elected, democracy has to work, and we know democracy is strong because it has stopped most of Trump’s authoritarian moves.”
But Gore also wishes a commitment to American values from out of the White House would be a bit more apparent. “Artwork is not a guide to human decency and morality. That’s what the government is supposed to be,” her statement says in closing.
The new paintings will be rolled out on her Instagram account this month, and Gore says digital renderings will be available for free on her website as well.

In This Article:
Art , Donald Trump

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The fabulous calendar girls of Whimple
When it came time for Cathy Bartlett-Horwood to drop her dressing gown to the floor and stand naked in her village hall in front of her friends, she was nervous. The 60-year-old has had a complicated relationship with her weight for many years. She was so nervous, in fact, that she was physically sick beforehand.
Nevertheless, she persisted. Bartlett-Horwood became part of a group of brave women who’ve come to be known as the "Wonders of Whimple." The "wonders" are thus-named because they posed naked in the village’s most scenic spots for a calendar celebrating the beauty of the village's female population.
This calendar is more than a photographic paean to the female form. It’s a fundraiser for this village's year-long mission to change the way its residents feel about their bodies.
The village’s name is one you might not have come across before, for the village itself is deep in the heart of rural Devon—a county in the south west corner of England. Readers imagining a scene not unlike the idyllic filming location of the 2003 film Calendar Girls wouldn't be entirely off the mark.
Whimple is comprised of winding lanes dotted with thatch-roofed whitewashed cottages with the occasional farm thrown in for good measure.
But, beyond the chocolate box prettiness of the village, its 1,173 inhabitants have been working hard to acknowledge and embrace the beauty of their own bodies. It's by no means been an overnight flick-of-a-switch process for many of the people involved. 
Gill Wilson— an eating disorders therapist—is the woman behind the movement. It all started in January 2016, when Gill organised screenings of a documentary in the village called Embrace .
The film—created by Australian activist Taryn Brumfitt after a successful Kickstarter campaign—explores the issue of "body loathing" and aims to inspire people to change the way they think and feel about their bodies.
"After having my three children, I ended up hating my body," says Brumfitt in the documentary. "So I trained hard, and I'm standing there in my perfect body and I’m not happy." Brumfitt says she didn't want her daughter to grow up feeling the same way so she traveled the world to find out why so many people hate their bodies. 
Wilson’s decision to screen the documentary in the area is one backed up by research. According to Dove’s Global Beauty and Confidence Report, which surveyed 10,500 women from around the world, British women have one of the lowest self-esteem scores, and just 20 percent said they liked the way they looked.
Alarmingly, a 2016 report by the Children’s Society found that girls are “less happy than they used to be” about their physical appearance. The research found that more than one-third of UK girls are unhappy with the way they look, a 30 percent rise over five years.
Wilson says that after she put on two screenings in the village, people came forward with ideas to further the notion of embracing one’s body image. One of which was a calendar.
“I was getting loads of emails, and the biggest messages was that the film needs to be shown in schools, but you need a licence for it to be shown in schools,” says Wilson. But, the idea of the calendar presented a solution to the licence issue—the proceeds raised by the Wonders of Whimple could pay for licences. 
Word of the calendar spread through the village, and slowly but surely people came forward and signed up to take part in it. “Once people knew their friends were doing it, they’d say 'oh, if you're doing it, I'll do it,'” says Wilson.
This was exactly how Bartlett-Horwood came to be involved in the calendar. “I knew some of my friends were taking part, and I thought, hey why should I just tell them how proud I am of them when I can actually do it too!” Her photo now sits pride of place on the calendar’s February page, and she’s also on the front cover.
“I have spent years battling with my weight and worrying how I look in front of my family and friends,” she says. “But, why when I am healthy and happy I have wonderful people around me who love me for who I am and it is inside that really matters.”
Bartlett-Horwood wants other people to feel the way she feels and “not to be worried about what other people think.”
“Allow your real self to shine and feel comfortable with who you are,” says Bartlett-Horwood. “We are all fabulous.”
Her bravery—and that of the women who took part in the calendar—has not gone unnoticed in the village. “People I don’t know have recognised me from the calendar and hugged me,” says Bartlett-Horwood.
Suzanne Rothwell, 72, decided to take part in the calendar for reasons close to her heart. A grandmother of six, Rothwell says she’s seen her grandkids starting to worry about body image from a very young age.
“My 5-year-old granddaughter one day said she couldn't do something because people would see her tummy. How sad is that?” Rothwell says. She feels that children are “constantly bombarded” with images of “perfect people.”
So Rothwell posed nude in an orchard along with other women from the village.
“It was great fun taking part, everyone was being quite modest taking their clothes off and putting on their dressing gowns,” says Rothwell. “Amazingly, when we finished the shoot and went to get changed, most ladies just undressed without worrying about their nakedness.” 
The women of Whimple posed in nothing but their birthday suits betwixt apple trees in an orchard, beside scones and jam at the local cricket club and, of course, on high stools at the Thirsty Farmer.
“We were keen for the calendar to get a real cross-section, and to get a diversity of body shapes,” Wilson added. “We ended up having a young girl of 18 and a lady of 84 years of age.”
Wilson says that most of the women felt “empowered” after the photo shoot.
“Everybody's journey was different, and people were fairly tentative to start with,” says Wilson. “I can’t speak for other people, but I was in the calendar and I felt really empowered, really liberated.”
She said that some of the experience couldn’t be “put into words” as it was “such an unusual experience."
"The shoot that I was in was in an orchard and it's not every day you take your clothes off and stand in an orchard," says Wilson. 
Sue Draycott, the photographer behind the Wonders of Whimple, says the experience of shooting the calendar was “amazing.”
“The women were all incredibly supportive of each other and I found it was a real bonding experience for all of us,” says Draycott.
The first screening of the film was what made Draycott decide to get involved in the calendar. “I have always had my own body image issues and struggled with my weight so when I heard that Gill was showing the film Embrace I knew this was something I had to see,” says Draycott.
“It was such an incredibly moving film and really struck a chord with me,” Draycott explains. She says that, during the screening, she realised that social media plays “such a big part in the way we see ourselves.”
"Having a teenage daughter also played a big part in the way I was struck by this film,” says Draycott. 
Draycott didn’t just stand behind the camera during the shoot, thought. “I joined one of the groups for a shoot and then took a self portrait of myself (naked of course!) for the back page of the calendar,” she says.
“I am so glad that I got involved and honestly feel I am on my way towards a better self acceptance of my body,” she says.
The calendar has raised around £4,000 ($5,414), which will be go towards five licenses and the remainder will be donated to two breast cancer charities. For Rothwell, the calendar also served as a way to remember her father, who died from breast cancer. 
Cathy Bartlett-Horwood, second from right, who was so nervous before now proudly sits on the throne.
"The calendar has raised enough money to get the film into five of our local secondary schools. So, they'll all be screening it next term," says Wilson.
Wilson hopes that women will look at the calendar and think "she looks like me, I can relate to her."
“I want someone to feel it's relatable and to appreciate that we're all beautiful with our stretch marks and cellulite. We've got amazing, amazing bodies, and it makes me really sad that so many people go through life hating their bodies and feeling they should look a certain way.”
Wilson says that she feels the calendar is already starting to have an impact in the community.
"It's one of those things, it's not going to be a flick of a switch and 'oh my god I love my body,'" she says. "The way change happens is little by little.” 

https://www.rollingstone.com/culture/culture-features/illma-gore-naked-penis-painting-donald-trump-763551/
https://mashable.com/feature/women-body-image-calendar-whimple
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