Abstract
In a photograph the workers give what they cannot have: the right to be seen. Sebastião Salgado first came to international prominence as a photographer in 1981 when he was assigned by the New York Times Magazine to cover the first 100 days of the new presidency and was there outside the Washington Hilton as John Hinckley attempted to assassinate President Reagan. Salgado had already proven himself as a photographer in the previous decade (efforts that led to him joining the prestigious Magnum agency in 1979) but nothing could quite match the buzz of such a momentous event.
“You photograph with all of your ideology”—Salgado
This is a preview of subscription content, log in via an institution to check access.
Notes
- 1.
The most comprehensive analysis of Salgado’s career to date is Parvati Nair, A Different Light: The Photography of Sebastião Salgado. Durham, NC: Duke University Press, 2012 (Nair 2012). The present critique is more selective but will connect several Salgado projects to my central concern. See, for instance, Sebastião Salgado, Africa. Cologne: Taschen, 2007 (Salgado 2007); The Children. New York: Aperture, 2000 (Salgado 2000); Sahel: The End of the Road. Berkeley: University of California Press, 2004 (Salgado 2004); and An Uncertain Grace. New York: Aperture, 1990 (Salgado 1990).
- 2.
Sebastião Salgado, Workers: An Archaeology of the Industrial Age. New York: Phaidon, 1993 (Salgado 1993b). I had hoped to include several examples of Salgado’s project in this text but licensing issues precluded that desire. Fortunately, Salgado’s work can be found all over the internet and some in particular, like http://thephotographersgallery.org.uk/sebastiaosalgado, feature the very photos to which I refer in this chapter. To purchase such prints, the site reminds us that prices start at £4,500 + vat. The documentaries discussed below also feature Salgado’s photography. The question of the price of worker representation sits close to the following discussion.
- 3.
Miles Orvell, “Documentary and the Seductions of Beauty: Salgado’s Workers” in After the Machine, Orvell (ed.) Jackson, MI: University Press of Mississippi, 1995: 98 (Orvell 1995).
- 4.
For a historical critique of modernity in this regard, see Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: MIT Press, 1992 (Crary 1992).
- 5.
Sebastião Salgado, Sebastião Salgado: Other Americas. With Claude Nori, Gonzalo Ballester, and Alan Riding. New York: Aperture, 2015: xv (Salgado 2015a). Originally published in 1986, this project is surprisingly lacking in context which further problematizes what is given in its images.
- 6.
Da in Heidegger’s Da-sein is not quite “there” and especially so with Being. Here I am interested in “thereness” as a tangent to the real rather than its pure expression, somewhere between being in its ontology, and factual existence, the ontic. As Derrida acknowledges, much of Marx’s invocation of the specter concerns the ghostly presence of the commodity and, to some extent, communism (the famous opening of the Manifesto). The point here would not be to overlay such critique in terms of the worker (there is little solace, politically or culturally, in worker haunting) but to think of this around the problem of cultural presence and meaning, a genealogy not just “after” worker states but coterminous with capitalist subjectification. See Jacques Derrida, Specters of Marx. Trans. Peggy Kamuf. New York: Routledge, 1993 (Derrida 1993).
- 7.
See, M.M. Bakhtin, Art and Answerability: Early Philosophical Essays. Ed. Michael Holquist and Vadim Liapunov, trans. Vadim Liapunov. Austin: University of Texas Press, 1990 (Bakhtin 1990); and Toward a Philosophy of the Act. Ed. Michael Holquist and Vadim Liapunov, trans. Vadim Liapunov. Austin: University of Texas Press, 1993 (Bakhtin 1993).
- 8.
John Berger and Jean Mohr, Another Way of Telling. London: Writers and Readers, 1982: 113.
- 9.
See Kaja Silverman, The Miracle of Analogy, or, The History of Photography. Palo Alto: Stanford University Press, 2015 (Silverman 2015). While here I do not argue that the worker is analogous to labor in Salgado’s photographs, there is a provocation in its meaning for historicity and temporality.
- 10.
The Spectre of Hope. Dir. Paul Carlin. Netherlands: Minerva Picture Company, 2002.
- 11.
I have earlier suggested Rancière makes a virtue of such out-of-timeness. There is truth to the temporal discrepancy of the proletarian in this regard, so that the worker can more easily appear with the vanishing of the worker state. The “workers of the world” is a shibboleth for capitalism; whether the fragment within fragmentation (the worker of the world[s]) is a greater threat is less the issue than the political and cultural possibilities it provides.
- 12.
John Berger and Jean Mohr, Another Way of Telling. London: Writers and Readers, 1982 (Berger and Mohr 1982).
- 13.
I refer here principally to Benjamin’s use of shock in the title essay of Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media. Eds., Michael W. Jennings, Brigid Doherty, and Thomas Y. Levin, trans. Edmund Jephcott, Rodney Livingstone, Howard Eiland et al. Cambridge, MA: Harvard University Press, 2008 (Benjamin 2008).
- 14.
See Jacques Derrida, The Truth in Painting. Trans. Geoff Bennington and Ian McLeod. Chicago, IL: University of Chicago Press, 1987 (Derrida 1987). For his part, Derrida is less sure the problem pivots on the question of technological reproducibility, although even the “simulacra of fetishes” (179) owes something to the automatons of modernity.
- 15.
Roland Barthes, Camera Lucida. Trans. Richard Howard. New York: Hill and Wang, 1982: 12 (Barthes 1982).
- 16.
See Jeremy Rifkin, The End of Work: The Decline of the Global Labor Force and the Dawn of the Post-Market Era. New York: Putnam, 1995. Obviously, a key point is the intensification of automation but the “end” and “decline” described is not disconnected from the fate of the worker state (which had promised just this kind of transformation).
- 17.
I mean this in the sense of story over ingenuities of plot, or what the Formalists might refer to as device. The Bakhtin Circle, for instance, thought fabula possibilities might slip the stranglehold of Formalist aesthetics. See, P.N. Medvedev, The Formal Method in Literary Scholarship: A Critical Introduction to Sociological Poetics. Trans. Albert J.Wehrle. Cambridge, MA: Harvard University Press, 1985 (Medvedev 1985).
- 18.
John Berger et al., Ways of Seeing. London: Penguin, 1972 (Berger et al., 1972).
- 19.
See M.M. Bakhtin, “Author and Hero in Aesthetic Activity” in Art and Answerability: Early Philosophical Essays, Michael Holquist and Vadim Liapunov (eds.), Vadim Liapunov (trans.). Austin: University of Texas Press, 1990 (Bakhtin 1990). Bakhtin’s essays at this time were tinged with not a little Neo-Kantianism but are a useful aesthetic counterweight to the psychoanalytic divisions also active in representation.
- 20.
- 21.
Susan Sontag, Regarding the Pain of Others. New York: Picador, 2003: 62 (Sontag 2003).
- 22.
Parvati Nair, A Different Light: The Photography of Sebastião Salgado. Durham, NC: Duke University Press, 2012 (Nair 2012).
- 23.
This is not an argument against multiplicity, but the ways in which it has been reified within globalization. Shifting the “s” from worker to world is one way to mark and defamiliarize the actual homogeneity often at stake.
- 24.
Sebastião Salgado, Migrations: Humanity in Transition. New York: Aperture, 2000 (Salgado 2000).
- 25.
My comments here focus on the books rather than the exhibitions, although the links between the worker on the coffee table and in the museum says a great deal about the political unconscious of globalization, where every sign of critique is just another commodity event. The experience of scale is also significant. Having recently seen Salgado’s “Genesis” exhibit in Berlin I am reminded that the logic of the worker monument in the “Workers” tour intimates a complex process of objectification and disavowal facilitated not just by place but by the massive proportions of some of the photos. Whereas commodity fetishism works against the origins of art, scale appears to conjure a discrepant aura in labor, despite the fact Salgado himself is often read to occupy this position.
- 26.
Orvell, “Documentary and the Seductions of Beauty,” 105.
- 27.
See, for instance, Looking Back at You. Dir. Snell, Andrew. BBC. 1993. The “Workers” project is prominent in this documentary because it so proximate to its production. There is an intimacy in the film that is more obtuse in Workers. Salgado, for instance, is shot working on his photographs in juxtaposition with workers he is photographing. Sugar workers speak directly to the camera. Steel workers engage in conversation with Salgado and he gives them prints, sometimes of themselves. Workers are named. While all of this seems to detract from the status of the photo as art, it serves as a commentary on the limits of labor in culture as a dialectic of representational codes. The examples I detail in this book are therefore not meant to be definitive in any way but attempt to be demonstrable, of key antinomies in the cultural representation of labor.
- 28.
Sebastião Salgado, The Scent of a Dream: Travels in the World of Coffee. New York: Abrams, 2015 (Salgado 2015b). Work has the smell of coffee, as well as vinegar. My reading of Salgado’s contribution here will be part of another project. For my previous work on coffee, see Peter Hitchcock, Imaginary States: Studies in Cultural Transnationalism. Urbana/Champaign: University of Illinois Press, 2003 (Hitchcock 2003).
- 29.
Eduardo, “Salgado, Seventeen Times” in An Uncertain Grace Sebastião Salgado (ed.) New York: Aperture, 1990 (Eduardo 1990).
- 30.
It is also important for Aperture and is available in a limited edition on their website for $10,000.
- 31.
There are ways in which Salgado’s project is a surrogate for the collective impulse of the Communist Manifesto, the exhortation for workers of all countries to unite. Yet it could just as well be interpreted as a displacement for such unity when it comes to the racial coding of capitalism from its inception. Salgado displays the racial differentiation of workers without necessarily addressing the logic of this differentiation in labor’s role for capital. For a longue durée on this and formations of Black radicalism see, Cedric J. Robinson, Black Marxism: The Making of the Black Radical Tradition. Chapel Hill: University of North Carolina Press, 1983 (Robinson 1983).
- 32.
See, in order, Jonathan Cott, “Sebastião Salgado’s Visionary Light,” Rolling Stone 619 (December 12, 1991) (Cott 1991); Michelle Bogre, Photography as Activism: Images for Social Change. Burlington, MA: Focal Press, 2012: 64 (Bogre 2012); Sebastião Salgado, “A Lecture,” Ed. Stephen Perloff. The Photo Review 16 (Fall 1993): 10 (Salgado 1993a); Matthew L. Wald, “Sebastião Salgado: The Eye of the Photojournalist,” New York Times Magazine, June 9, 1991 (Wald 1991); Amanda Hopkinson, “Interview with Salgado,” British Journal of Photography 6762(29) (March 1990): 12 (Hopkinson 1990); and, Salgado, Sebastião Salgado, xv.
- 33.
Outsideness or exotopy (Russian “vnenakhodimost”) is borrowed from Bakhtin although I tend to push against his particular interpretation, however useful. For more on the concept, see my “Women, Men, and Exotopy: On the Politics of Scale In Nuruddin Farah’s Maps” in Masculinities in African Literary and Cultural Contexts, Helen Nabasuta Mugambi and Tuzyline Jita Allan (eds.) Boulder: Lynne Reinner, 2010 (Hitchcock 2010); “Exotopy and Feminist Critique” in Bakhtin: Carnival and Other Subjects, David Shepherd (ed.) Amsterdam: Rodopi Press, 1993 (Hitchcock 1993b); and, most pertinently, Dialogics of the Oppressed. Minneapolis: University of Minnesota Press, 1993 (Hitchcock 1993a).
- 34.
Marcel Mauss, The Gift. Trans. W. D. Halls. New York: W.W. Norton, 2000 (Mauss 2000). The influence of Mauss’ text on all subsequent theorizations on the topic from its original publication in 1925 cannot be overestimated. The question of how gifts build (or deracinate) human relations is a primary subtext of this reading of Salgado on labor in culture.
- 35.
Jacques Derrida, Given Time: 1. Counterfeit Money. Trans. Peggy Kamuf. Chicago: University of Chicago Press, 1994:12 (Derrida 1994).
- 36.
Roland Barthes, Camera Lucida. Trans. Richard Howard. New York: Hill and Wang, 1982: 25–28 (Barthes 1982).
- 37.
Jacques Lacan, Four Fundamental Concepts of Psychoanalysis. Trans. Alan Sheridan. New York: Norton, 1998: 106 (Lacan 1998).
- 38.
Jacques Lacan, Écrits: A Selection. Trans. Alan Sheridan. New York: Routledge, 2001: 219 (Lacan 2001).
- 39.
Silverman usefully points out that there are other possibilities here, one signaled by Benjamin’s essay “Little History of Photography” in which Benjamin suggests that the photograph may seek its look in the future, a look that is both redemptive and accentuates a condition of impossibility in the photograph’s present. See, Kaja Silverman, The Miracle of Analogy, or, The History of Photography—Part One. Palo Alto: Stanford University Press, 2015 (Silverman 2015); and Walter Benjamin, “Little History of Photography” in Selected Writings Volume Two, 1927–1934, Michael W. Jennings (ed.) Cambridge, MA: Harvard University Press, 1999 (Benjamin 1999). Such ideas will later inform and consolidate Benjamin’s reading of history.
- 40.
Jacques Derrida, Right of Inspection. New York: Monacelli Press, 1998 (Derrida 1998). Derrida’s collaboration with Marie-Françoise Plissart, a leading Belgian photographer, is an extended rumination on the right to look, droit de regards, which connects to many of his other thoughts on observation and the observed. Does the worker selfie seize this right and effectively cancel the problem of the gift in exchange where capitalism is concerned? Certainly self-expression and self-representation problematize some of the contradictions I have laid out so far. Who is photographing and to what end remain paramount in the “rights” arrayed, but I am attempting to think of this in terms of a structural logic of visualization between labor and capital where certain rights are overdetermined.
- 41.
Fred Ritchin, “The Lyric Documentarian” in An Uncertain Grace, Sebastião Salgado (ed.) New York: Aperture, 1990: 147 (Ritchin 1990).
- 42.
M.M. Bakhtin, Art and Answerability: Early Philosophical Essays. Ed. Michael Holquist and Vadim Liapunov, trans. Vadim Liapunov. Austin: University of Texas Press, 1990: 111 (Bakhtin 1990).
- 43.
Gold Lust. Dir. Neil Hollander. Adventure Film Productions, 1985; and Serra Pelada. Dir. Heitor Dhalia. Paranoid, 2013 (Pelada 2013).
- 44.
Parvati Nair, A Different Light: The Photography of Sebastião Salgado. Durham, NC: Duke University Press, 2012: 229–247 (Nair 2012).
- 45.
Jacques Derrida, The Gift of Death. Trans. David Wills. Chicago: University of Chicago Press, 1997: 41 (Derrida 1997).
- 46.
See Arundhati Roy, Power Politics. Cambridge, MA: South End Press, 2001 (Roy 2001).
- 47.
This has been noted earlier in the book but bears special relevance to Salgado. If indeed culture facilitates an understanding of worlds of labor and the worker in her singularity, it also comes to terms with the offscreen presence of women’s role in the production and reproduction of the social. To a certain degree globalization has depended on this continuing marginalization of the margin, or accumulation by dispossession, and it remains a primary arena in which, for instance, neoliberalism can be opposed. As Silvia Federici puts it: “Reproductive work is undoubtedly not the only form of labor where the question of what we give to capital and ‘what we give to our own’ is posed.” But the nature of that “gift” is, as she notes, “a ground zero for revolutionary practice.” This gift must also be problematized in the worker’s image. See, Silvia Federici, Revolution at Point Zero. New York: PM Press, 2012 (Federici 2012).
- 48.
The Spectre of Hope. Dir. Paul Carlin. Minerva Picture Company, Netherlands, 2002.
- 49.
I borrow from the title of John Berger, And Our Faces, My Heart, as Brief as Photos. New York: Pantheon, 1984 (Berger 1984). Berger notes, “The visible brings the world to us” but that “the visible with its space also takes the world away from us” (50). In examining this dialectic in terms of labor the unity of the world itself is made strange.
- 50.
Simone Weil, “Human Personality” in Simone Weil: An Anthology, Sian Miles (ed. & intro.). New York: Grove Press, 2000: 67 (Weil 2000).
- 51.
The Salt of the Earth. Dir. Juliano Ribeiro Salgado and Wim Wenders. Sony, 2014.
- 52.
- 53.
Although in many ways Sischy replays a critique of art and the market from the early days of modernism she also underlines that merely accepting its doxa, as postmodernism is wont to do, seriously underestimates the contradictions in the challenge of Salgado’s representational claims. Even an offhand comment, “since when did being a Brazilian qualify someone as the voice of Africa or Asia?” (95) goes to the heart of the cultural representation of labor as “workers of the world.” No single example, by any author, artist, or director, can possibly stand in unproblematically for workers or the world as such. The point, however, is not to cede the grounds of representation themselves to the cultural logic of globalization, which has no problem voicing any part of the world as its reflection. Salgado does not speak for Africa or Asia (still less Brazil) but to the world as a representational impasse. True, he is not a passive medium in his art but if there is a symbolic function in his representations of global labor it is not as a metonym for its meaning, or as some abstruse ventriloquist for all workers in their difference. It rests, rather, in addressing labor mimesis as both more and less than the reality of copied appearances. It is against the certitude of globalization’s world that Salgado’s photos are arrayed.
- 54.
See, Matthew Soar, “The Advertising Photography of Richard Avedon and Sebastião Salgado” in Image Ethics in the Digital Age, Larry Gross, John Stuart Katz, and Jay Ruby (eds.) Minneapolis: University of Minnesota Press, 2003: 269–294 (Soar 2003); and Orvell, “Documentary and the Seductions of Beauty.”
- 55.
Sebastião Salgado, Genesis. New York: Taschen, 2013. Caption to 208: 8 (Salgado 2013).
- 56.
John Berger et al., (1972) Ways of Seeing.
- 57.
Benjamin, The Work of Art in the Age of Its Technological Reproducibility. One of the questions that Salgado’s worker project poses is whether Benjamin’s critique is itself “reproducible” in the twenty-first century.
Bibliography
Bakhtin, M.M. Art and Answerability. Intro. Michael Holquist. Trans. Vadim Liapunov and Kenneth Brostrom. Austin: University of Texas Press, 1990.
Bakhtin, M.M. Toward a Philosophy of the Act. Michael Holquist and Vadim Liapunov eds. Trans. Vadim Liapunov. Austin: University of Texas Press, 1993.
Barthes, Roland. Camera Lucida. Trans. Richard Howard. New York: Hill and Wang, 1982.
Benjamin, Walter. The Arcades Project. Trans. Howard Eiland and Kevin McLaughlin. Cambridge, MA: Harvard University Press, 1999.
Benjamin, Walter. “Dream Kitsch” in Walter Benjamin—Selected Writings, 1927–1930. Michael William Jennings et al. eds. Cambridge, MA: Belknap, 2005.
Benjamin, Walter. The Work of Art in the Age of its Technological Reproducibility. W. Michael, Brigid Doherty Jennings eds. Trans. Thomas Y. Levin, Edmund Jephcott, Rodney Livingstone, Howard Eiland et al. Cambridge, MA: Belknap Press, 2008.
Berger, John. The Look of Things. Nikos Stangos ed. London: Penguin, 1972.
Berger, John. And Our Faces, My Heart, Brief as Photos. New York: Pantheon, 1984.
Berger, John, and Jean Mohr. Another Way of Telling. London: Writers and Readers, 1982.
Bogre, Michelle. Photography as Activism: Images for Social Change. Burlington MA: Focal Press, 2012.
Cott, Jonathan. “Sebastião Salgado’s Visionary Light” Rolling Stone, 619 (December 12, 1991).
Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: MIT Press, 1992.
Derrida, Jacques. The Truth in Painting. Trans. Geoff Bennington and McLeod Ian. Chicago: University of Chicago Press, 1987.
Derrida, Jacques. Specters of Marx. Trans. Peggy Kamuf. New York: Routledge, 1993.
Derrida, Jacques. Given Time: 1. Counterfeit Money. Trans. Peggy Kamuf. Chicago: University of Chicago Press, 1994.
Derrida, Jacques. The Gift of Death. Trans. David Wills. Chicago: University of Chicago Press, 1997.
Derrida, Jacques. Right of Inspection. New York: Monacelli Press, 1998.
Federici, Silvia. Revolution at Point Zero. New York: PM Press, 2012.
Galeano, Eduardo. “Salgado, Seventeen Times” in An Uncertain Grace. Sebastião Salgado ed. New York: Aperture, 1990.
Heron, Liz, and Val Williams. eds. Illuminations: Women Writing on Photography from the 1850s to the Present. London: Tauris, 1996.
Hitchcock, Peter. Dialogics of the Oppressed. Minneapolis: University of Minnesota Press, 1993a.
Hitchcock, Peter. “Exotopy and Feminist Critique”. David Shepherd ed. Bakhtin: Carnival and Other Subjects. Amsterdam: Rodopi Press, 1993b: 196–209.
Hitchcock, Peter. Imaginary States: Studies in Cultural Transnationalism. Urbana/Champaign: University of Illinois Press, 2003.
Hitchcock, Peter. “Women, Men, and Exotopy: On the Politics of Scale in Nuruddin Farah’s Maps” in Masculinities in African Literary and Cultural Contexts. Helen Nabasuta Mugambi and Tuzyline Jita Allan eds. Boulder: Lynne Reinner, 2010.
Hopkinson, Amanda. “Interview with Salgado” British Journal of Photography 6762: 29 (March 1990): 11–12.
Lacan, Jacques. Four Fundamental Concepts of Psychoanalysis. Trans. Alan Sheridan. New York: Norton, 1998.
Lacan, Jacques. Écrits: A Selection. Trans. Alan Sheridan. New York: Routledge, 2001.
Mauss, Marcel. The Gift. Trans. W. D. Halls. New York: W.W. Norton, 2000.
Medvedev, P.N. The Formal Method in Literary Scholarship: A Critical Introduction to Sociological Poetics. Trans. Albert J. Wehrle. Cambridge MA: Harvard University Press, 1985.
Nair, Parvati. A Different Light: The Photography of Sebastião Salgado. Durham, NC: Duke University Press, 2012.
Orvell, Miles. After the Machine. Jackson, MI: University Press of Mississippi, 1995.
Serra Pelada. Dir. Heitor Dhalia. Paranoid, 2013.
Ritchin, Fred. “The Lyric Documentarian” in An Uncertain Grace. Sebastião Salgado ed. New York: Aperture, 1990.
Robinson, Cedric J. Black Marxism: The Making of the Black Radical Tradition. London: Zed Press, 1983.
Roy, Arundhati. Power Politics. Cambridge MA: South End Press, 2001.
Salgado, Sebastião. An Uncertain Grace. New York: Aperture, 1990.
Salgado, Sebastião. “A Lecture” in The Photo Review 16. Stephen Perloff ed. (Fall 1993a): 10.
Salgado, Sebastião. Workers: An Archaeology of the Industrial Age. New York: Phaidon, 1993b.
Salgado, Sebastião. Migrations: Humanity in Transition. New York: Aperture, 2000a.
Salgado, Sebastião. Sahel: The End of the Road. Berkeley: University of California Press, 2004.
Salgado, Sebastião. Africa. Cologne: Taschen, 2007.
Salgado, Sebastião. Genesis. New York: Taschen, 2013.
Salgado, Sebastião. Sebastião Salgado: Other Americas. With Claude Nori, Gonzalo Ballester, and Alan Riding New York: Aperture, 2015a.
Salgado, Sebastião. The Scent of a Dream: Travels in the World of Coffee. New York: Abrams, 2015b.
The Salt of the Earth, Dir. Juliano Ribeiro Salgado and Wim Wenders. Sony, 2014.
Silverman, Kaja. The Miracle of Analogy, or, the History of Photography. Palo Alto: Stanford University Press, 2015.
Sischy, Ingrid. “Good Intentions” New Yorker, September 9th (1991): 89–95.
Soar, Matthew. “The Advertising Photography of Richard Avedon and Sebastião Salgado” in Image Ethics in the Digital Age. Larry Gross, John Stuart Katz, and Jay Ruby eds. Minneapolis: University of Minnesota Press, 2003: 269–294.
Sontag, Susan. Regarding the Pain of Others. New York: Picador, 2003.
The Spectre of Hope. Dir. Paul Carlin. Netherlands: Minerva Picture Company, 2002.
Stallabrass, Julian. “Sebastião Salgado and Fine Art Photojournalism” New Left Review 223 (1997): 131–162.
Wald, Matthew L. “Sebastião Salgado: The Eye of the Photojournalist” New York Times Magazine, June 9th (1991).
Weil, Simone. “Human Personality” in Simone Weil: An Anthology. Ed. and Introduced by SianMiles. New York: Grove Press, 2000.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 2017 The Author(s)
About this chapter
Cite this chapter
Hitchcock, P. (2017). A Gift: Workers to Sebastião Salgado. In: Labor in Culture, Or, Worker of the World(s). Palgrave Studies in Globalization, Culture and Society. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-45399-6_5
Download citation
DOI: https://doi.org/10.1007/978-3-319-45399-6_5
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-45398-9
Online ISBN: 978-3-319-45399-6
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)