The Beautification of Suffering

An Exploration of the Relationship Between Aesthetics and Ethics Through an Evaluation of Sebastiao Salgado’s “Sahel: The End of the Road”

At an uneasy proximity, we hover over the fragile body of a child– a bare and emaciated body coated in a film of dust. Amidst the sand in which this child lies, rest the objects of desolation and poverty: an empty bowl, a tin can, and a thin piece of fabric. Visually resembling a paleontological tableau, this image immortalizes the child’s form like that of a fossilized record, portraying the child’s life and existence as stagnant and forever lost to the tribulations of the past. It is an image that bespeaks the uncanny execution of finding grace and beauty within the poignant narratives of tragedy. With its notable grandeur, a dramatically saturated black-and-white style, and a meticulously framed composition inscribed with the suffering of a child, this image firmly retains our gaze. It is a contentiously restive gaze, one that questions the beautification of suffering. 

Sebastião Salgado, a Brazilian photographer, is one whose images hold such an enduring gaze, leaving impressions that linger long after one’s initial encounter. Salgado has produced several documentary series, deliberately refraining from presenting his images individually to ensure they remain embedded within their broader contexts. Through these series, he portrays individuals undergoing desperate circumstances, offering a comprehensive narrative that transcends an isolated still. In 1984, Salgado began documenting the drought-stricken Sahel region of Africa, stretching through the countries of Chad, Mali, Ethiopia, and Sudan. In response to the unfolding crisis, Salgado sought to embark on a 15-month project to document the Sahel region's long-lasting history of famine and displacement caused by drought and conflict. Through this photographic journey, Salgado compiled his photographs into a series titled “Sahel: The End of the Road”. 

Broadening our perspective, Salgado known more extensively for his striking black-and-white photographs paired with unforgettable moments of horror, stands as a catalyst for ethical debates regarding photojournalism and its aestheticization of suffering. In alignment with such proclivity, the exploration of Salgado’s work, specifically “Sahel: The End of the Road,” will serve as a case study to explore the coexistence of the aestheticization of suffering and ethical criticism. In employing this specific case study, this exploration will comprehensively evaluate the relationship between aesthetics and ethics, questioning their merits and limitations and overall understanding their legitimacy. 

In navigating such relationship various approaches come to the forefront of ethical criticism with respect to the legitimacy of the ethical evaluation of art. Therefore, before delving into this critical evaluation, it is crucial to establish a methodological framework that will align effectively with the intricacies of this specific case study. While some may advocate for a moralist framework, asserting that the aesthetic value of art should be determined by its moral worth, others may support an autonomous approach, contending that art should be evaluated solely based on aesthetic standards. Both arguments offer effective and legitimate approaches to evaluating works of art but rather succeed distinctively depending on particular purposes and case studies. Within the realm of photography, specifically photojournalism, a distinct approach is warranted. Photography manifests in various forms, serving as a medium for self-expression or artfully portraying interpretations of reality. If tasked with analyzing an artistic photographic work, my approach would gravitate towards an argument rooted in aestheticism, with an emphasis on the formal characteristics and artistic intent inherent in the work. The distinctiveness of photojournalism, however, lies in its alliance with objective truth, requiring a unique approach to ethical criticism. Such a framework involves a multifaceted approach that combines formal analysis with the consideration of contextual background, purpose, and intended impact. Prevailing beyond a singular theoretical framework, this approach resembles the structure of a moralist argument in which it acknowledges the intricacy of ethics and aesthetics in photojournalism. 

Within the scope and methodological framework of this evaluation, a single photograph will be employed to understand the intricate relationship between aesthetics and ethics inherent in this body of work. Taken in Mali in 1985, this image depicts a poignant scene of a visibly starving child, with discernible ribs, skeletal limbs, and a protruding belly. Amidst a drought-stricken landscape, the child stands near an equally barren tree, both bearing only the weight of their bones. The two figures stand solemnly against the vacancy of their background, resembling the visual simplicity of a subject posed against a canvas. While Salgado is not typically known for staging his photographs, there are few instances, such as this one, where his extreme formalism evokes an orchestrated approach. Staged compositions are heavily criticized in photojournalism, where even Susan Sontag suggests that “[t]hose who stress the evidentiary punch of image-making by cameras have to finesse the question of the subjectivity of the image-maker. For the photography of atrocity, people want the weight of witnessing without the taint of artistry, which is equated with insincerity or mere contrivance.”  A journalistic image tainted with creative control, undermines its credibility as a medium that is intended to be representative of a “decisive moment”, and is instead categorized more closely with art. 

On one hand, Salgado’s strong adherence to form is precisely what prescribes such criticism, yet on the other hand it is what elevates his photographs to success and evokes a sensational response. Whether or not, the image was staged the reality and existence of these subjects cannot be disregarded as unauthentic. Even if these images were artificially composed, these images still existed beyond the realm of a split second. Given that the subject and content of the work are primarily an authentic representation of reality, it’s reasonable to allocate less attention to critiquing the content of this work. Simply put, it is not the child’s suffering or the dying tree that provokes an ethical criticism, rather, it’s the artist's approach and incentive in portraying such content. Photojournalism's close connection with objective truth, or merely the pursuit of truth through representations of reality, compels me to dissect the formal qualities and artistic intent in photographs of suffering. 

With that said, without Salgado’s formalist approach, this photograph may not have elicited the same reaction as it would have with a more conventional journalistic style. By carefully positioning the subject next to a tree whose forms and conditions conspicuously resemble one another, we naturally equate the child's life to that of a withering tree. This overt parallel effectively portrays the severity of this crisis, further fueling a sensational response. It is the photographer’s deliberate composition that prompts our comparison and interpretation of the work, and therefore our ethical criticism. This, however, raises the question about the significance of personal interpretation in evaluating the ethical dimensions of a work of art. In photojournalism, viewer reaction and engagement are the driving forces of this journalistic medium, making it imperative to consider individual interpretations in this ethical criticism. 

Perhaps even at the expense of its own accuracy, this photograph and its formalist approach epitomize sensationalism. Often critics advise photographers to avoid sensationalism because the representation, or rather misrepresentation of such events distracts the public from the very problem itself, engendered by questions regarding sensationalist truth and purpose. I, for one, advocate for the use of sensationalism as I believe it is more than just a method of provocation but rather a form of instrumentalism that is used to appeal emotionally, redirect public opinion, and influence change. However, Salgado’s sensationalist approach fails to meet such expectations. Salgado refrains from the immediacy of photojournalism, often publishing his photographs within meticulously curated photographic series, long after they were initially taken. By profiting off the exploitation of the vulnerability and suffering of the child and not aiding in alleviating their struggles, Salgado’s use of sensationalism promotes such ethical criticism. 

Again, our response is not triggered solely by the sensational manipulation exerted, but also by the formal beauty and characteristics of the photograph. Yet, this emphasis on formalism raises a pertinent question: Does the aesthetics of a photograph undermine the understanding and engagement of its content? In other words, does Salgado’s emphasis on formalism, restrict a genuine response and comprehensive understanding of the suffering of this child? Salgado’s adherence to formalism, inherently restricts our perception, forcing us to view it solely through the lens of aesthetically stylized exoticism and suffering. In one respect, this may be the very element that renders these photographs as successful, yet, it is also precisely this aspect that deems his work as ethically questionable. 

In all consideration, Salgado’s “Sahel: The End of the Road”, using a singular image as a focal point for exploration, reveals a complex relationship between aesthetics and ethics in photojournalism, wherein it is difficult to negate an aesthetic judgment from our ethical evaluation. While Salgado’s deliberate formalism is undeniably integral to its successful visual impact, it also provokes questions concerning the potential distortion of the viewer's understanding through the aestheticization of suffering. The ethical criticism, in this case, extends beyond the sensational content and is rather inherent in Salgado’s formalist approach and responsibility for the impact of his images. Through this case study, it is evident that while the relationship between aesthetics and ethics is complex, there is a clear correlation between the two. 

Seeing as we have established that the evaluation of art requires an aesthetic judgment to recognize the ethical detriments, I must now question whether the ethical value of an image conditions its aesthetic value or perhaps even question whether ethical criticism is a legitimate aesthetic activity. In other words, specifically concerning Salgado’s work, while it is apparent that his images are beautifully executed, does its ethical deficit undermine its aesthetic beauty?

In adopting a methodological framework that adheres to formalism intertwined with content, a conclusion favoring an aestheticist argument would presumably be warranted. Yet, an aestheticist conclusion, even at a moderate stance, implies that the ethical merits or demerits are irrelevant to a work’s aesthetic worth– a stance that doesn’t align with the nuances of this particular example. Rather, I would pose an immoralism argument that asserts that while aesthetics and ethics are inherently intertwined, a work of art has the potential to transgress moral assumptions and challenge conventional attitudes. It does not necessarily declare that a work is inherently aesthetically flawed, instead, it suggests that ethical considerations stimulate a discourse within the realm of aesthetics. Revisiting the example, despite its ethically contentious notions, the aesthetic beauty of the work remains eminent. Instead of disregarding Salgado’s aesthetic formalities, the ethical implications serve as a catalyst for an aesthetic critique– one that does not dictate its aesthetic value but rather encourages such discourse. 

Perhaps the only way to legitimize ethical criticism as an aesthetic activity is through the adoption of an immoralism stance. For one, this perspective acknowledges that while ethical considerations can play a pivotal role in aesthetic evaluation, it is not the sole determinant of the overall value or merit of a work of art. Without such a vacillating perspective, ethical and aesthetic discourse would cease to exist, reducing art to a realm devoid of critique or interpretation, and restricted solely to sensuous experience. While certain critics condemn interpretation and advocate for experiencing art as it is, I believe that this perspective is only suitable for specific mediums or styles, and not for photojournalism.