I will start by saying that the audience of this book is not sex workers nor is it really about sex workers. It's about a carefully curated selection of whores, who somewhere along the narrative, in the eye of Julia Fullerton-Batten lose the status of a prostitute and transcend to that of the desired model. I should say the white model which is comical given an article in Huck Magazine about The Act begins with the line the sex industry in 2017 is as diverse as ever, but you'd not know it from this book. This book is all about white toned skinny modelesque whores with token women of colour thrown in for political good measure.
The Act is no different from other photo books that depict sex workers. They are never about sex workers nor are they intended for the viewing of sex workers. The Act is a visual expression of how a non sex work photographer views whores and the validation of an already existing worn out photographic gaze that falls upon the bodies of sex workers. A gaze perpetrated by photographers who seem to think photographing whores is some pinnacle of visual expression that will eventually bestow the photographer with accolades for creating art from the bodies of a marginalised group. Sorry, but to me c'est passé!
So, if this photobook is not for sex workers then who is the audience? Well, to me. That is obvious and should go without saying. Fullerton-Batten's book The Act is for the eyes of men only. History is littered with a visual representation of sex workers created for the titillation of male eyes only but I am no Whorestorian though, see Whores of Yore for that expertise. The intended male only audience and well, to be honest, everything about this book makes me question the role the photo book plays in the ordinary lives of sex workers. The role they play in the fight for rights. This is not a critique of the images, though. They are stunning, cinematic, quirky, dark and as Fullerton-Batten says herself they are playful and somewhat sexually charged. I'd expect nothing less from a collaboration with Vogue Italia but I can't be the only one who sighs at yet another photographic essay of naked topless sex workers. Legs spread. Mouth open. Tits on display. It's not to say I have an issue with nudity, it's to say I have an issue with the reductive view of sex workers.
The stunning photographs are independent and interdependent, the way movement flows through the book is a stroke of creative genius and the haptic experience of this book, the highly sexualised tactile sensation is key to its success, and here the heterosexual male audience comes into play.
The Act is described as;
Generously sized, beautifully printed, hand-crafted, sumptuously bound in a soft material flesh-like to the touch, and embellished with a lace garter, the book is a dream for collectors of fine-art photography.
They only way to interpret this is, The Act is a dream for men. I imagine the removal of the garter, the touching of the flesh, inviting you to enter the book, exposing the photographs is akin to the feelings of fingering a woman. I need not have to comment re the reference to being generously sized. I'm not convinced nor am I impressed. This presentation plays straight into the argument of a whore as an objectified sex object and what seals this book's fate in my eyes is the comment made by Fullerton-Batten herself “Although it’s not a choice of career that I would make" Well, why the hell not? Fullerton-Batten is that far removed from women who are sex workers that it has clouded her photographic output. If, as a photographer, you can't imagine yourself as a whore then you have no right or place to be photographing whores. This renders The Act, in my opinion nothing more than high-end fine art wank material.