Unveiling the Photographic Process: A Public Performance at the University of Westminster
Dr. David Moore, a prominent lecturer in photography at the University of Westminster, conceived and executed a groundbreaking public photography event. This unique initiative featured renowned photographer Jillian Edelstein capturing portraits of Harriet Logan and Tristan Lund, collaborators on 'The Incite Project,' in front of a live audience in Fyvie Hall. Moore's vision for this performance was to deconstruct the traditional photographic process, allowing the audience to witness in real-time the intricate negotiations between photographer and subject, and to provoke contemplation on the nature of representation and reality within the medium. The event, an allegory for photography itself, aimed to challenge preconceived notions of authenticity and construction, highlighting the performative aspects inherent in image-making. Moore's interest in the social construction of photography, a core theme in his curatorial work for the University's Photoforum series, found a compelling public expression through this innovative live session.
This pioneering event provided a unique platform to examine the power dynamics and dialogical space inherent in portraiture. The live setting fostered an environment where the audience, photographer, and subjects collectively contributed to the unfolding narrative, offering an unplanned yet insightful dimension to the photographic act. The dynamic interplay between artistic control, subject responsiveness, and audience engagement underscored Moore's long-standing research into the intersections of photography, performance, and reality. His previous works, such as 'Pictures from the Real World' and its subsequent iterations, consistently questioned the authority of the image-maker and empowered subjects to voice their perspectives, laying the groundwork for this public exploration of photographic production.
The Genesis of 'Performing Photography!': A Live Exploration of Image Making
Dr. David Moore, a Senior Lecturer in Photography at the University of Westminster, initiated an experimental public photoshoot, a unique event he termed 'Performing Photography!' The inspiration for this event stemmed from Moore's profound interest in the social construction of photographs and the underlying conditions that influence their creation. He aimed to dismantle the conventional, often unseen, process of portrait photography by staging a live session before an audience. This pioneering approach allowed spectators to witness the intricate dance between photographer and subject, the technical aspects of image capture, and the subtle negotiations that shape the final output, fostering a deeper critical awareness of photographic production.
The event, held in the historic Fyvie Hall, featured acclaimed photographer Jillian Edelstein, known for her impactful work, photographing Harriet Logan and Tristan Lund, co-founders of 'The Incite Project.' This pairing was serendipitous, as Logan and Lund were in need of a portrait for an upcoming BJP article, and they already had a connection with Edelstein, having included her work in their collection. The live setting, where images were displayed in real-time on a large screen, transformed the photographic act into a dynamic, interactive experience. Moore’s intention was to create an allegory for the medium itself, encouraging the audience to ponder the distinctions between reality and constructed narratives within photography, and to what extent the entire event was a performance. The unscripted audience interaction, including a memorable moment where a spectator questioned Logan's lack of a smile, added an unforeseen layer of engagement, highlighting the complex interplay of expectations and agency in artistic creation.
Deconstructing Representation: Moore's Ongoing Research into Photographic Realities
Dr. David Moore's 'Performing Photography!' event was a natural extension of his extensive academic and artistic endeavors, which consistently probe the nature of representation and reality in photography. As the curator of the University of Westminster's Photoforum series, Moore has a history of bringing leading practitioners into public dialogue. However, this particular project allowed him to delve into the performative aspects of image-making, challenging the notion of a photograph as a singular, static entity. His work draws inspiration from Ariella Aïsha Azoulay's concept of photography as a "photographic event," emphasizing the dynamic interactions and social contexts that shape an image, rather than solely focusing on the photographer's individual act.
Moore's commitment to dissecting photographic processes is further evidenced by his past projects, including 'Pictures from the Real World,' a series documenting working-class families in Derby, which he later revisited through various interactive and performative iterations. These subsequent projects, such as 'The Lisa and John Slideshow' and 'Lisa and John – Oh My Days!,' involved collaborating with his original subjects, allowing them to contribute their own images and narratives, thereby questioning the inherent power dynamics and authority of the documentary photographer. By integrating elements of Brechtian theater, where interruptions and interventions are embraced as part of the artwork, Moore continually seeks to foster critical awareness among audiences about the pervasive influence of photography in our daily lives and our "compulsive use of the machine we carry with us all the time."