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The Ethics of Viewing Photos of Enslaved People
Is there a right way to treat images of suffering?
In the New York Times, Parul Sehgal writes about what we look at when we view the first photos of people who were enslaved.
Alfred, Fassena and Jem. Renty and his daughter Delia. Jack and his daughter Drana. They face us directly in one image and stand in profile in the next, bodies held fixed by an iron brace. The Zealy daguerreotypes, as the pictures are known, were taken in 1850 at the behest of the Harvard zoologist Louis Agassiz. A proponent of polygenesis — the idea that the races descended from different origins, a notion challenged in its own time and refuted by Darwin — he had the pictures taken to furnish proof of this theory.
Agassiz wanted images of barbarity, and he got them — implicating only himself. He had hand-selected his subjects in South Carolina, seeking types — “specimens,” as he put it — but each daguerreotype reveals an individual, deeply dignified and expressive. Their hurt, contempt, fatigue, utter refusal are unequivocal.
Sehgal poses questions we all should ask ourselves, whether we are viewing these daguerreotypes or videos of police brutality: “Is there a correct way to regard these images? Should one view them, or any coerced image, at all? To whom do they belong? Do they quicken or numb the conscience? Does displaying them traumatize the living? Is it care or cowardice to keep them concealed? What do we owe the dead?”
