Han Sai Por Sculptures

Han Sai Por is a Singaporean sculptor. Han has participated in exhibitions locally and abroad, including events in China, Denmark, Japan, Malaysia, New Zealand and South Korea. Her sculptures can be found around the world, in Osaka and Shōdoshima, Kagawa Prefecture, in Japan; Kuala Lumpur and Sarawak in Malaysia; and Washington, D.C. Han is probably best known for her stone sculptures with organic forms, examples of which include Growth (1985), Spirit of Nature (1988), Object C (1992) and Seeds (2006). For her contributions to art, Han was conferred the Cultural Medallion for Art in 1995. She was also the winner of the sculpture and painting section at the 11th Triennale – India organized by the Lalit Kala Akademi (National Academy of Art of India) in 2005, and the Outstanding City Sculpture Award in China the following year.

Flora Inspiration (2007)  (Flora Series)

Flora Inspiration (2007) at Changi Airport, Singapore
Flora Series

Flora

Stillness in motion: The Matka Series 1 (2003)

Stillness in motion: The Matka Series 1 (2003)
Sculpture
Artist: Olga Ziemska
Locally reclaimed willow branches and wire
69" x 155"

Stillness in motion: "The Matka Series is a new body
of work that explores the concept of place. In this ongoing series I will be using locally harvested trees that grow native to an area to create a female figure in different countries all around the world. The word “matka” in Polish means mother, a person that is significant to the idea of place, origin and our first physical environment—the womb. This work will be a sculptural documentation and visual research of the significance of place through examining the distinctive visual characteristics of an areas native plant life and of its’ natural environment. Through the repetition of the human form, the subtle characteristics of each environment will emerge naturally and visually. This body of work is ultimately a celebration of the diversity of place and also a homage to the similarities that underlie all things at their core." (Olga Ziemska)

Accumulate vision... Build bridges... Breathe... exhibition
Chapel Gallery, Centre of Polish Sculpture,
Oronsko, Poland

Mirage (2011)

Mirage (2011)
Artist: Katie Grinnan
Friendly plastic, enamel, and sand
79 x 63 x 72 inches

Yoga is about fluidity and movements, which is why artist Katie Grinnan created a sculpture that reflects the flexibility and dynamism of the activity. Made of sand, plastic and enamel, this time-lapse structure entitled Mirage consists of a yoga routine suspended in time. Each and every sequence of the movements is captured in this extraordinary statue.

At first glace, the art piece looks like a bird spreading its winds; however, upon closer examination, it becomes evident that the layers represent the development of yoga positions. The artist explains, “Mirage focuses on the concept of peripersonal space, the space that your body encompasses at its most extended point in every direction, which describes the body’s potential boundary.”

The sculpture by Katie Grinnan is a celebration of the human body and its endless spiritual and physical potential.

Mirage, focuses on the experiential nature of the body and is formed from casting Grinnan’s own body moving through the different positions of a portion of her yoga routine. The resulting form is both an approximation of motion and a solid thing, a singular figure and many. Mirage focuses on the concept of peripersonal space, the space that your body encompasses at its most extended point in every direction, which describes the body’s potential boundary. Although one might consider the artist, Étienne-Jules Marey as a reference point for Mirage, the Hindu sculptures from South India, where different gods are portrayed with multiple limbs are of equal importance. Both references reflect Grinnan’s interest in the expansion and compression of time and “everyday superposition.”

Points of Contention (2011)

Points of Contention (2011)
Sculpture
Artist: Jonathan Latiano
Wood, plastic, acrylic, styrofoam, glass, plexiglass and salt


Jonathan Latiano was born and raised amongst the rural hills of Bucks County, Pennsylvania. Since graduating from Moravian College in Bethlehem, PA in 2006 with a degree in Studio Art, he has lived and exhibited in New York City and Baltimore, Maryland. In May of this year, Jonathan received his Masters of Fine Art from the Maryland Institute College of Art.

Currently, Jonathan resides and works in Baltimore, Maryland and teaches at The Corcoran College of Art and Design in Washington DC.

Dance of the Witches (2012)

Dance of the Witches (2012)
Installation
Artist: Ludwika Ogorzelec
From the series "Space Crystallization"
Poland


Ludwika Ogorzelec - "sculptor of space"

What you sculpt? - Space.

This is the choice made ​​by the Polish artist Ludwika Ogorzelec  there are now thirty years working space, analyze, recreate to bring the viewer to perceive that n ' is not visible. Creativity materializes in delicate structures and airy, even air, all braided lines, seeming sometimes suspended. Regardless of the material used, wood, glass, metal or cellophane, she has developed throughout his artistic poetic original space. Far as to consider a vacuum or an insulating screen, she sees foremost a volume. These lines, which delimit fragments, cells, components can also suggest areas of energy flows in the cycle as Space Crystallization 

Her approach, initiated at the National School of Fine Arts in Wroclaw, enriched over important meetings, the most significant will be the director J. Grotowski and the sculptor César. Came to France in 1985, both to develop and to show his art to the west, she pursues her undergraduate work, begun in 1981: Instruments of balance . This is research of balance, not a state of equilibrium. Objects constructed of wood lines are crossed space. In this frame of filaments, multiple connections are all volumes energy interacting. There are already present its report to the peculiar nature, nature as well understood in terms of biology, shapes become the interdependence of phenomena as mechanisms of all kinds.

If Instruments of balance was the trunk of the tree, it starts a new cycle in 1990, Space Crystallization would be the branches. While balance Instruments are finite objects, designed to last, the works of Space Crystallization , more abstract, have a fleeting existence. Lines, ubiquitous, often focused on a concrete block hanging on a building facade, or even struck by a tree, soar into space completely recreated by the artist, the result of a long and analysis designed to the other, which will meet the work. Calculations, measurements, plans? The artist defends himself. If science finds resonances in the art, it is during the development, by the working of the material herself she feels she knows where to start, where to stop.

And those who would see his space in analogy with the spider, she replied vehemently that this is a misunderstanding. The spider spins its web to trap its prey, Ludwika Ogorzelec built its spaces to make us more free.

David Sansault, October 2010

 "...I want my sculpture to be like a passing phenomenon springing out of the world of biology, machines and instruments. From an understanding of sculpture as solid and heavy, viewed from the outside and made from lasting materials. I have left myself line expressing itself with the properties of its material and the space which that line encloses..." Ludwika Ogorzelec born and educated in Poland, obtain her master degree at Art Academy in Wroclaw 1983. From 1985 she start her artistic carrier traveling cross the world for her site specific "Space Crystallization" action . She show her work at 55 solo and around 50 curatorial group shows in many deferent places of the world.

Samson Slaying a Philistine (1562)

Samson Slaying a Philistine (1562)
Sculpture
Giambologna
Victoria & Albert Museum
London, UK

The sculpture of Samson Slaying a Philistine is the earliest of the great marble groups by Giambologna (1529-1608), sculptor to the Medici Grand Dukes of Tuscany, and the only substantial work by the artist to have left Italy. It was commissioned in about 1562, by Francesco de Medici for a fountain in Florence, but was later sent as a gift to Spain. The group was presented to the Prince of Wales, later King Charles I, in 1623 while he was in Spain negotiating a marriage contract, and it soon became the most famous Italian sculpture in England. On its arrival in England it was given to the king's favourite, the Duke of Buckingham, and subsequently changed hands three times before coming to the Victoria and Albert Museum in 1954.

The sculpture shows Samson wielding the jawbone of an ass in order to slay one of the Philistines who have taunted him. It is a good example of the multiple viewpoints seen in Giambologna's work; the spiralling movement of the bodies means that there is no main view. The dramatic pose is based on a composition by Michelangelo, who was in his late seventies when Giambologna met him in Rome. The group was carved from just one block of marble, supported by only five narrow points. Although the marble is weathered from three centuries outdoors, it still shows Giambologna's sensitive carving.

 

Happy

Happy
Artist: Rejani Sen

The White Slave (1913)

The White Slave (1913)
Artist: Abastenia St. Leger Eberle (1878–1942)
Country: USA

Abastenia St. Leger Eberle, was an American sculptor. Her most famous piece The White Slave caused controversy representing child prostitution.
The White Slave was exhibited at the 1913 Armory Show in New York, and which caused "a storm of violent controversy" because of its shocking combination of contemporary realism and the nude. The sculpture represented child prostitution, which at the time was euphemistically called white slavery.

She exhibited her two sculptures in the 1913 Armory Show including White Slave (1913;destroyed;posthumous bronze, private collection). The sculpture a censure of abduction of young woman for prostitution, represents a smoothly and simply formed young woman cowering her nudity, while the roughly modeled auctioneer solicits bids for her. It cause controversy when published on the cover of  " The Survey" magazine of May 3, 1913. 

Memento Amori( 2010)

Memento Amori( 2010)
Ivory Edition Bronzo Edition
38x34x26
Artist: Matteo Pugliese

Mumbatu (2007)

Mumbatu (2007)
Artist: Karen Cusolito
Height: 18FT
Weight: 11 TonsUS)
Composition: Salvage Steel, Retired Crane Cable
Installation: Crane
Engineering:Anchor bolt to concrete pad


Mumbatu is deep in a posture of introspection. His height is exaggerated, emphasizing his strength and lean musculature. Yet despite his imposing size, he is crouching down, with deep regard for the smaller nuances of life; the delicate balance between nature and humanity.

Mumbatu was created in 2007 and was first exhibited at Burning Man. He has since traveled to Maker Faire, 2008, Electric Daisy Carnival 2008 and 2010, and presently is on exhibit at American Steel Studios, Oakland, CA.

Epiphany (2007)

Epiphany (2007)
Artist: Karen Cusolito
Height: 22 FT
Weight: 7 Tons
Composition: Salvage Steel
Installation: Crane
Engineering: Free Standing

Epiphany is bursting with the joy that accompanies the revelation in acknowledging the essential essence of life. Her heart beats with fire and in that moment of illumination, her entire body pulses with fire.

Epiphany was first exhibited at Burning Man, 2007 and has traveled to many events in the US: Maker Faire, 2008, Great American Music Hall, 2008, The Fire Arts Festival in both 2007 and 2009, aboard the USS White Holly in Sausalito, CA – where she took first prize in the competitive "Parade of Lights" - and Electric Daisy Carnival, 2010. Epiphany is presently on exhibit at American Steel Studios, Oakland, CA.


About the Artist
Karen studied at Rhode Island School of Design and Massachusetts College of Art. She worked on several public art installations in and around the Boston area before moving to San Francisco in 1996.

Her art has taken many forms, from painting and mixed media to the large-scale steel sculptures she’s presently developing.
She finds drawing to be the easiest and most concise form of communication and the human form a rich arena in which to explore and express emotion, intention, and challenge. Much of her work focuses on humanity and the environment and the delicate balance between the two.
Karen is about to embark on a new series that studies the female form throughout history.
Since 2009, she has been running American Steel Studios in Oakland, CA, which provides studio and gallery space to over 100 artists and small businesses.

The Kiss (1882)

The Kiss (1882)
Circa 1882
Marble
H. 181.5 cm ; W. 112.5 cm ; D. 117 cm
S.1002 /Lux.132
Artist: Auguste Rodin

Commissioned by the French state in 1888, carved between 1888 and 1898. Joined the collections of the Musée du Luxembourg in 1901; transferred to the Musée Rodin in 1919.
The Kiss originally represented Paolo and Francesca, two characters borrowed, once again, from Dante’s Divine Comedy: slain by Francesca’s husband who surprised them as they exchanged their first kiss, the two lovers were condemned to wander eternally through Hell. This group, designed in the early stages of the elaboration of The Gates , was given a prominent position on the lower left door, opposite Ugolino , until 1886, when Rodin decided that this depiction of happiness and sensuality was incongruous with the theme of his vast project.

He therefore transformed the group into an independent work and exhibited it in 1887. The fluid, smooth modelling, the very dynamic composition and the charming theme made this group an instant success. Since no anecdotal detail identified the lovers, the public called it The Kiss, an abstract title that expressed its universal character very well. The French state commissioned an enlarged version in marble, which Rodin took nearly ten years to deliver. Not until 1898 did he agree to exhibit what he called his “huge knick-knack” as a companion piece to his audacious Balzac , as if The Kiss would make it easier for the public to accept his portrait of the writer.

Fallen Chair

Fallen Chair
Artist: Damian Ortega
Country: Mexico


Born in 1967 in Mexico City, Ortega is one of the most prominent artists of the new Mexican generation. This exhibition, the first-ever survey of Ortega’s work, shows the arc of his artistic output with a range of sculpture, installation, video, and photography.

In Ortega’s work, objects are never allowed to rest they are pulled apart, suspended, or rearranged, calling attention to the dynamism of the world around us and the hidden poetry in the everyday. A former political cartoonist, Ortega brings a subtle, incisive wit to his surprising manipulations of familiar, humble materials—bricks, old tools, Coca-Cola bottles,  tortillas, and even a Volkswagen Beetle are assembled and reassembled in playful and imaginative ways.

Damian Ortega is an artist known for taking things apart and putting them back together again. "I'm interested in those everyday attempts to produce meaning" Damian Ortega.
With this piece Damian has created meaning, the visual meaning of a fallen chair becoming upright like Duchamp's Nude descending staircase,
Damian has rendered into reality, this movement.
His work is the product of a restless mind, one that like a child, has not settled into acceptance but questions everything, he is an amazing artist.

Khajuraho Erotic Sculptures (900 – 1300 AD)

Khajuraho Erotic Sculptures (900 – 1300 AD)
Location: India
Artists: Unknown (During Chandel Dynasty)

The Khajuraho temples are one of the seven wonders of India, second only to the incredible Taj Mahal. While the brilliant architecture and symmetry remains a point of amazement, the Khajuraho temples mainly in the limelight because of the incredible erotic art and carvings. Although the erotic sculptures make for just 10% of the temples, the temples have become synonymous with love and erotica.

These 1000 year old temples have been built of sandstone and put together with mortise and tenon joints while they remain fixed due the gravitational force. This type of construction is not easy and requires very precise joints. The columns and architraves were built using megaliths weighing as much as 20 tons.
The Khajuraho temples were built during the Chandela dynasty and were built and completed within a span of 100 years.



Erotic Art – Unraveling the Story Behind
There are many theories explaining the real reason for incorporating erotic art with the temples. One of the most popular theories is that they were meant to provide education about earthly desires. During the medieval era, young boys were sent to hermitage and practice bramhacharya till reaching maturity. The sculptures were meant to educate them about grahasthahram.

Yet another theory states that they were meant to represent kama (desire) as the third purushartha (aim of life). The sculptures are also accredited to the rise of the Tantric cults during that time. However, several experts reject these theories.
However, the most credible explanations for the erotic sculptures at Khajuraho are as follows:
1. Sign of happiness, prosperity and auspiciousness: During the medieval era there was a common belief that having erotic sculptures were considered alankaras or decorative motifs, protective and auspicious. This hypothesis is based on the authoritative religious texts like the Shilpashastras and the Brihat Samhita. According to the Brihat Samhita, mithunas (couples), goblins, creepers and erotic sculptures were meant to be carved on the temple door to bring in good luck and as a sign of auspiciousness.

2. Mock the Ascetics: Yet another theory explaining the old erotic art at Khajuraho states that the coital couples represent ascetics as well as people from the royal class. It is also believed that the sculptures of couples participating in the orgies are scenes imagined by the artists. Also, it is also said that the artists used ascetics in sensuous and passionate moods as a way to mock the extreme Tantric sects that rose during that era.
3. Code Language: According to experts, the erotic figures were used as a code language to convey Tantric doctrines and non-communicable experiences. For e.g. A sculpture wherein a washerwoman clings to an ascetic may look erotic and sensuous for the layman. However, in the Tantric language, the washerwoman represents the Kundalini energy that has ascended up to the chakras i.e. the neck of the ascetic. Thus, the erotic sculptures have a deeper meaning related to the Tantric cult.

4. Conceal the Magico-Propitiory Yantra: According to the architectural text of the Shilpa Prakasha, every temple must have a Kamakala Yantra strategically placed to protect it from evil spirits and natural calamities. However, the Yantra, which is basically a set of lines drawn symmetrically, must not be visible to the lay man. Thus, a few erotic sculptures with the head down posture were made corresponding to the lines of the Yantra and superimposed on it.
5. Non-duality: It is possible that the erotic sculptures symbolically represent the union of two opposing forces or energies like, inhalation and exhalation, in a timeless state of non-duality.
The erotic art at Khajuraho is considered to be the pinnacle of love and passion. However, during the period between 900 – 1300 AD most Hindu, Jain and Buddhist temples across western and southern India comprised of erotic art.
However, at other temples, these sculptures were carved at the plinth level, below the eye level and thus did not get noticed. It is only at Khajuraho that these sculptures were so prominently displayed on the main wall of the temples.Khajurahotemples.net

Flight (2011)

Flight (2011)
Sculptures on Park Avenue, New York
Date: March-June 2012
Artist: Rafael Barrios

The sculptures of Venezuelan artist Rafael Barrios were unveiled on Park Avenue on March 2012. Most of the pieces are being exhibited for the first time.  His works, mostly made of steel and acrylic lacquer  alter the viewers' perception and state of mind. At a distance, the sculptures appear to be voluminous, but as you approach them, they are actually thin. As Barrios states, the sculptures are about “dislocating our perception in such a way that our mind’s eye will insist that you are seeing something that you are not.” nyclovesnyc.blogspot.in

Explosion (2010)

Explosion (2010)
Artist: Carlos Amorales
Museum of Herzelya

The “Explosion” refers to the figurative momentum of the work, but also to its intrinsic qualities. Rarely have I been impacted so strongly and so instantaneously by the sight of an artwork. With its thousands pieces of shiny black resin hanging from the ceiling, thanks to an unobtrusive wiring system, the effect of the work is powerful. The fragments are not completely still: the visitor’s eye adjusts to continues changes of angle, while the smooth surface of each piece reflects the others in variable ways. Walking around the perimeter of observation, one’s point of view changes the perception of the work, revealing the complexity of the relations of each piece with the whole. It represents a grandiose exemplification of interdependence.

Here is an excerpt from the words of the curator:

“The work is made entirely of pieces of material detached from any source or context; refractions of light and form, splinters of body and meaning. It conceals great violence, which nevertheless remains unrealized. It seems to freeze one moment in the process of explosion, a moment which oscillates between the energetic cohesion that has held all the different elements in a single body, and final scattering and loss, as in the supernova effect where a massive star explodes because the internal pressure caused by nuclear fusion outward is insufficient to balance the great pull of gravity inward. ” [curator Hadas Maor] (laurachiesa.wordpress.com)

Prima che sia notte (2006)

Prima che sia notte (2006)
Before Night Falls
Sculpture
Bronze
Artist: Matteo Pugliese

Between Two Worlds(2010 )

Between Two Worlds(2010 )
Tra due mondi
125x122x13 cm, Bronze
Artist: Matteo Pugliese

Matteo Pugliese's bronze sculptures of men, often made from multiple components, appear to be trapped in the vertical space of gallery walls.


He was born in Milan in 1969.
In 1978 his family moved to Sardinia where Matteo lived for the next 12 years.
During this time he developed a strong love for drawing and sculpture and continued his art work without any formal education. After finishing his secondary school studies in classics in Cagliari, he returned toMilan to attend university.
In 1995 he was awarded his degree in Modern literature at the University ofMilan with a graduation thesis on Art criticism.
Encouraged by friends, in 2001 he organised and financed his first solo exhibition renting private exhibition
space in the centre of Milan. Only 18 months later he held his first “official” exhibition in a gallery in Brera,Milan, and after a fewmonths he held a solo show in Brussels.
Today his works are on permanent display in galleries in Italy and major cities throughout the world, Rome, Hong Kong, London, Brussels, Lugano and TheHague and have been shown at some of the most important Italian and international art fairs such as the Hong Kong Art Fair (Hong Kong), ArtFirst (Bologna), Miart (Milan), Arco (Madrid), and Fiac (Paris).
In recent years his pieces have been sold with considerable success at some of the world’s most prestigious fine art auction houses (Christie’s, Sotheby’s, and Pandolfini).
Matteo Pugliese is married with one daughter.

Different "Che"s

Guerrillero Heroico
Photograph: Alberto Korda
Date:March 5, 1960, in Havana, Cuba

Korda has said that at the moment he shot the picture, he was drawn to Guevara's facial expression, which showed "absolute implacability"as well as anger and pain.Years later, Korda would say that the photo showed Che's firm and stoic character.Guevara was 31 at the time the photo was taken.

Popularised Cropped Version is shown below

In 1968, Jim Fitzpatrick traces the outline of Korda’s photo Original

Fitzpatrick’s graphic was later used in a 1968 painting attributed to Andy Warhol, and was later on sold to a gallery in Rome. The painting used the same graphic processes used on the acclaimed Marilyn Monroe pieces. However, this painting was a forgery, created by Gerard Malanga who needed money. When Warhol heard of the fraud, he shrewdly authenticated the fake, providing that all the money from sales went to him.

In 1967, Polish artist, Roman Cieslewicz, designed a poster with the words “Che Si” (Yes Che) emblazoned over the revolution leader’s face as his eyes and nose. This was later featured on the October 1967 cover of the French art magazine, Opus International.

Guerrillero Heroico made its American debut in 1968, when the image appeared as a poster advertising the February issue of a literary magazine called the Evergreen Review. It was painted by Paul Davis. Formatted to fit New York subway billboards, the response was extremely negative, resulting in a bomb being thrown into the Evergreen Review offices.






Cuban artists took to the image with abandon, cranking out Che pop art posters. Whether intentional or not, it’s an association that links Che, the armed warrior, with the freewheeling, free-love spirit of the hippy peace movement. Painting by Raúl Martínez.

Collection of El Museo Nacional de Bella Artes, Havana. Image courtesy of the Center for Cuban Studies, New York

The iconic image of Che Guevara shot by Cuban photographer Alberto "Korda" Gutiérrez is instantly recognizable the world over. No surprise, then, that the huge mural of Che that hangs from the Ministry of the Interior (the ministry in charge of national security), on the northwest corner of Havana's Plaza de la Revolución, is perhaps the most photographed site in Cuba. The massive mural takes up most of the seven-story windowless facade and was erected in 1995 from steel railings donated by the French government. The stenciled words "Hasta la Victoria Siempre ("Always Toward Victory") are spelled out beneath      the image.

Day of the Heroic Guerrilla - Serrano 1968

In Cuba 8th October is the Day of the Heroic Guerrilla and commemorates the revolutionary life of Che Guevara, executed by the CIA on October 9th 1967. This poster is vibrant, dramatic, colourful and celebratory. Che had only been dead a year and already he was becoming an icon, a symbol of the revolution and deified as the romantic freedom fighter. This is an early example of the use of Korda's famous cropped photograph of Che. Designer Elena Serrano has used pop art stylings to merge the legend with the Latin America that the Cuban leaders believed would eventually succumb to similar revolutions.




                                        Day of the Heroic Guerilla - Martinez 1978

This OSPAAAL poster from 1978 by Olivio Martinez uses warm sun drenched colours to idolise Che whose capture by the CIA and Bolivian Special Forces in October 1967 is commemorated each year on the Day of the Heroic Guerilla. Che was killed a day later on 9th October 1967. The simple design shows a sombre Che deep in thought and gazing into the distance - a more mature image than some of the more playful Cuban posters which tend to reference pop and psychedelic art.

Che by Maurice Murenzi

“Che y La Guadalupe (San Ernesto de La Higuera y Tonatzin)” [Che and The Guadalupe (San Ernesto de la Higuera and Honatzin)], 2011,pictures the revolutionary Che Guevara passionately embracing and receiving a kiss from Catholic icon, the Virgin Mary. It’s a suggestive and sexual encounter that symbolically unites the sacred and political. The oversaturation of imagery is difficult to engage but expresses the artist’s passion for his beliefs.

Che Guevara´s Monument at La Higuera (Bolivia), where he got killed.










                                                    Condom

Image courtesy of the exhibition “Revolution and Commerce Portrait of Che Guevara by Alberto Korda,”

The September 16, 1996 edition of Der Spiegel magazine entitled: “The Myth of Che Guevara”, featured Che’s image adorned with a halo of moving bullets











                                       Sunglasses advertisement, 1999. Jean Paul Gaultier, Paris.

Courtesy mostra Che Guevara: rivoluzionario e icona. The Legacy of Korda's Portrait










One of the most famous Cuban posters, this 1968 poster by Rostgaard for a Santiago Alvarez documentary makes use of Korda's iconic image of Che Guevara. Hasta la Victoria Siempre (Onwards Forever to Victory) is Che's declaration of commitment to the revolutionary struggle. It's a simple pop-art style poster that places Che's iconic image in a heavy-bordered black box - a common method of displaying images of the dead in some cultures.

The film was made after Che's death to tell the story of his efforts in Bolivia to highlight the struggle of the opressed indigenous peoples and to foment revolution there. The 19 minute documentary was made quickly and makes use of photographs of Che's experiences in Bolivia cut with speeches and footage of him working among the people.

Magnum ice cream wrapper. The slogan reads “The revolutionary struggle of the cherries was squashed as they were trapped between two layers of chocolate. May their memory live on in your mouth!”
Image courtesy of David Kunzle









Wine shop, Cinque Terre, Italy.

Photo by Catherine Mackenzie

In 1970, the Art Workers’ Coalition produced a widely distributed anti-Vietnam War poster featuring an outline of Che on a yellow background, with his famous quotation: “Let me say at the risk of appearing ridiculous, that the true revolutionary is guided by great feelings of love.”






Che of the Dead

by Brian Bingham

The idealized myth of Che becomes distant from the daily reality of a country that is communist in name but which is, for better or worse, increasingly integrated into the global capitalist economy, Cuban artists can’t resist using the image as a commentary on that society. This riff on Warhol and government propaganda is by Cuban Alfredo Manzo Cedeño. From Michael Casey’s personal collection.

OSPAAAL Poster Che Guevara Day Heroic Guerrilla Forjans Cuban Carteles Afiches

Tri Continental Magazine
July 1997