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Picturing CubaArt, Culture, and Identity on the Island and in the Diaspora$
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Jorge Duany

Print publication date: 2019

Print ISBN-13: 9781683400905

Published to Florida Scholarship Online: May 2020

DOI: 10.5744/florida/9781683400905.001.0001

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PRINTED FROM FLORIDA SCHOLARSHIP ONLINE (www.florida.universitypressscholarship.com). (c) Copyright University Press of Florida, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in FLASO for personal use.date: 28 July 2021

Cuban Photography after 1959

Cuban Photography after 1959

Shifting Paradigms

Chapter:
(p.144) 9 Cuban Photography after 1959
Source:
Picturing Cuba
Author(s):

Iliana Cepero

Publisher:
University Press of Florida
DOI:10.5744/florida/9781683400905.003.0010

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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