The War Between Salgado and Sischy: Not so Black

The War Between Salgado and Sischy: Not so Black and White

JENIFER EDA MENEZES

Between 1984 to 1985, the Sahel region of Africa experienced a massive drought, during which approximately one million victims died from malnutrition and related causes. Documenting this tragedy for fifteen months was Sebastião Salgado, a recognized Brazilian photographer whose style consists of beautiful, dramatic black-and-white photos. Eduardo Galeano, a journalist, stated that Salgado’s work dignifies his subjects, describing how it “is a poetry of horror because there is a sense of honor” (8). In other words, the viewer is able to see these victims as equals when they are shown in a beautiful way. Furthermore, Fred Ritchen, an editor for The New York Times Magazine, also agrees with Galeano, saying that “People living in disastrous circumstances can be…as beautiful as anyone else” (Galeano). On the other hand, one of the most vocal critics of Salgado, Ingrid Sischy, disagrees with their approach. She states that Salgado’s photographic techniques are “far too busy with…finding the “grace” and “beauty” in the twisted forms of anguished subjects” (92). This is a problem for Sischy because it can ultimately result in anesthetizing the feelings of the viewers (92). It is true that beauty is a focal point in Salgado’s work and that his fame has undeniably come from his ability to take appealing photos. However, what Sischy fails to grasp is that Salgado’s preoccupation with aestheticizing his images does not detract from their meaning but rather acts as a gateway to new audiences by making them more palatable, which is a crucial step forward in helping the Sahel famine victims.

An important component in Sischy’s critique of Salgado’s photographs is the claim that he “negates the revulsion that can take over when disease or hunger is on display,” which can in turn, “result in pictures that ultimately reinforce our passivity” (92). What Sischy is effectively arguing is that when beauty is incorporated in photographs that represent suffering, it makes it easier for viewers to digest the content presented, but also has the effect of taking away from the main message. Consider for instance, Salgado’s

photograph of the blind woman in Sahel: The End of the Road. Here, it is difficult to immediately tell that she is a victim of a famine or even that she is blind. Instead, viewers are drawn to the dramatic use of chiaroscuro or the carefully calculated composition of the woman. There is certainly merit in pointing out that aestheticizing suffering helps the general public to digest heavier content. However, what Sischy doesn’t sufficiently acknowledge is that Salgado may be deliberately aestheticizing his photos in order to gain relevance.

The reason Salgado’s photos stay relevant is because his photographs create debate, whether good or bad. In the essay “Workers”, Salgado himself claims that his work “must provoke a discussion” and one way in which he achieves this is mixing art with suffering (111). Salgado is aware that this is controversial, yet continues to beautify his subjects to spark discussion. The fact that the debate about his work continues to this day is proof that he has achieved his intent of keeping the stories of those that need help, relevant. If it weren’t for his beautifying take on his subjects, conversation regarding his photos would not take place, and in effect, would not expose new audiences to crucial humanitarian issues.

Additionally, it is much more difficult now to wake humanity up to suffering solely with photographs compared to the golden age of photojournalism in the 1940’s and 50’s. With the invention of the television and the internet, documentary photos are becoming less and less relevant (Kimmelman). In Witness in Our Time, Salgado acknowledges that there is a new influx of information, stating “…there are more photographers than ever before and that we must live more densely than we have lived until now” (115). As photographers struggle to take photos that stand out of thousands, lighting, composition and the overall beauty of a photo becomes critical. Thus, Salgado’s beautifying take on his subjects helps his photos become noticed to wider audiences and possibly lead to aid for those in need.

One might however argue that gaining relevance can be done in other ways that do not include stirring up controversy. This can be a valid argument, but Sischy does not provide specific ways in which Salgado can do this and simply suggests that it shouldn’t be done. Furthermore, it can be said that pushing boundaries and conventions is important in the progression of photojournalism, and thus controversy is in a way, essential.

A crucial plank in Sischy’s analysis of Salgado’s photographs is the belief that “he presents people in a way that implies connection to… Judeo-Christian iconography” and as a result, is “sloppy with symbolism” (90). Essentially, this means that Salgado’s frequent use of Christian symbols is another way in which he aestheticizes his photos and distracts viewers from the pain of his subjects. This is perhaps best encapsulated in Salgado’s photo of a man carrying his dying son in his arms. The photo draws many parallels to Michelangelo’s sculpture Pietà, which depicts Mary carrying the body of Jesus after the Crucifixion. She is right to claim that a handful of Salgado’s photographs correlate with Christian ideas, as there are multiple that can be found even within Sahel: End of the Road. Though this is true, Sischy fails to grasp that symbolism often does not distract the viewer, but rather attracts them. It creates a connection between the subjects and viewers. Additionally, combining Christian symbolism with current issues helps the image become more politically relevant. Therefore, there is value in the use of symbolism due to the fact that it acts as a ‘hook’ to engage those that have a specific connection to Christianity.

Despite this, it is also true that the incorporation of Christian symbols in photos that depict suffering and pain is ethically questionable. One could argue that these victims are merely tools in Salgado’s eyes, utilized in order to construct “his visual rhetoric” (Sischy 90). However, photographs are subjective, and Salgado cannot control the way a viewer interprets a photo. Therefore, Salgado should not be blamed for unethically portraying his victims when it is not apparent that these Christian references were deliberately included.

A fundamental premise on which Sischy’s critique rests is the idea that “to aestheticize tragedy is the fastest way to anesthetize the feelings [of the viewer]” (92). In other words, the beauty of a photograph can overpower the suffering and tragedy of the subjects. A key flaw with her argument however is her belief that tragedy is the main theme in Salgado’s work. It is undeniable that Salgado focuses on the suffering of the victims to some degree, however, the real theme is the hope that exists within these images, even at a time of crisis. As Galeano highlights in “Salgado, 17 Times”, “Salgado’s photographs…

invite us to celebrate the dignity of mankind” (1). Unlike Galeano, Sischy’s perception of Salgado’s photos is one that is overly pessimistic, and confines the subjects to pity. Salgado’s positive outlook on global issues is something very different from, for example, the approach of James Natchwey, who tends to emphasize the shock value of his subjects rather than their dignity. Thus, Salgado’s unique approach makes it possible for more people to engage in the topic of human suffering, rather than recoil in sorrow.

This essay does not argue that Salgado does not beautify his subjects. Instead this essay sets forth the position that beauty, whether that be the composition of his subjects or the incorporation of Christian symbols, is a powerful tool in opening new doors to audience members who have never seen his work before. However, it is important to consider the need for a balance between the beautification of victims and the reality of their suffering. Consider for instance Zohra Bensemra’s photo of a woman injured in a mortar attack in Mosul. This photograph has the right balance of both beauty and documentary elements, as the vibrant red of the woman’s clothes, paired with how she is placed in the center of the photo, helps to grab the attention of the viewers. However, the vivid blood splatters on her face keep the viewer grounded to the seriousness of the situation. Thus, the aesthetics of the photograph does not overpower the voice of the victims. Despite all of this, it is important not to forget that the most crucial question of all is not about how these victims are photographed but rather what the viewers will do about it. As James Nachtwey puts it, “We must look at it. We’re required to look at it. We’re required to do something about it. If we don’t, who will?” (War Photographer).

WORKS CITED

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Guardian, 21 Dec. 2017, www.theguardian.com/uk-news/2017/dec/agencyphotographer-of-the-year-2017-zohra-bensemra. Accessed 8 Oct 2019.

Debrix François, and Cynthia Weber. Rituals of Mediation: International Politics and Social Meaning. University of Minnesota Press, 2003.

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H. Galeano etal., Aperture Foundation, 1990.

Kimmelman, Michael. “Can Suffering Be Too Beautiful?” The New York Times, 13

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Salgado, Sebastião. “Workers”. Witness in Our Time, edited by Ken Light,

Smithsonian Books, 2010, pp.108-116.

---. Sahel: The End of the Road. University of California, 2004, p.97.

Sischy, Ingrid. “Photography: Good Intentions.” The New Yorker, 9 Sept. 1991, pp. 89–95.

“The Sahel, Desertification beyond Drought.” We Are Water, 17 June 2019, www. wearewater. org/en/the-sahel-desertification-beyond-drought_318262. War Photographer. Directed by Christian Frei, performances by James Nachtway,

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