Cuban Photography after 1959
Cuban Photography after 1959
Shifting Paradigms
Art historian and curator Iliana Cepero analyzes how some photographers deviated from the official discourse of the 1959 Revolution as an epic and messianic process of liberation from imperialism and class oppression. Instead, as Cepero highlights, several artists (such as the 1960s artists María Eugenia Haya, aka Marucha, and José Alberto Figueroa) used photography both as a medium of self-expression and as a way to explore alternative narratives of daily life in Cuba. More recently, a new generation of photographers—among them, Eduardo García—has documented the material scarcity, poverty, marginalization, racial discrimination, and other intractable problems of contemporary Cuban society. Cepero concludes: “Cuban photography today, both in its documentary and conceptual approaches, aspires to dismantle the epic paradigm with which the Revolution came to be known as a visual phenomenon.”
Keywords: Photography, Cuban photography, Cuban Society, Revolution, María Eugenia Haya, José Alberto Figueroa, Eduardo García
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