In History at the International Center of Photography
New York, 2008
Mediations at Palau de la Virreina
Barcelona, 2011
Mediations (1978–1982) is based on Meiselas’s initial experience during the popular insurrection in Nicaragua. The selection process of her images for the publication Nicaragua: June 1978–July 1979 and the use of the same photographs by the mass media left her with many questions about how images are used in different contexts. Mediations retraces the history of these images and the contexts in which they have been published or reappropriated.
The middle row displays laminated pages from the first edition of the publication Nicaragua: June 1978–July 1979 and framed images from the book that were displayed in early exhibitions in an art context.
The top row displays laminated tearsheets from magazines and newspapers that published images Meiselas took in Nicaragua.
The bottom row displays laminated outtakes and laminated caption and text pages from the publication Nicaragua: June 1978–July 1979.
The Life of an Image: Molotov Man 1978 – 2009
“Molotov Man” is a photograph from Susan Meiselas’ landmark 1978-1979 photo essay, Nicaragua, which documented the popular insurrection against the Somoza dictatorship through the final weeks of the Sandinista victory. The photograph of “Molotov Man” depicts Pablo 'Bareta' Arauz, throwing a Molotov cocktail at one of the last remaining National Guard headquarters in Esteli, one day before Somoza would leave Nicaragua. Immediately chosen for publication by international magazines, the image became a symbol of the Nicaraguan revolution, and subsequently the artist’s authorship of the image was shared.
In History at the International Center of Photography
New York, 2008
Mediations at Palau de la Virreina
Barcelona, 2011
Mediations (1978–1982) is based on Meiselas’s initial experience during the popular insurrection in Nicaragua. The selection process of her images for the publication Nicaragua: June 1978–July 1979 and the use of the same photographs by the mass media left her with many questions about how images are used in different contexts. Mediations retraces the history of these images and the contexts in which they have been published or reappropriated.
The middle row displays laminated pages from the first edition of the publication Nicaragua: June 1978–July 1979 and framed images from the book that were displayed in early exhibitions in an art context.
The top row displays laminated tearsheets from magazines and newspapers that published images Meiselas took in Nicaragua.
The bottom row displays laminated outtakes and laminated caption and text pages from the publication Nicaragua: June 1978–July 1979.
The Life of an Image: Molotov Man 1978 – 2009
“Molotov Man” is a photograph from Susan Meiselas’ landmark 1978-1979 photo essay, Nicaragua, which documented the popular insurrection against the Somoza dictatorship through the final weeks of the Sandinista victory. The photograph of “Molotov Man” depicts Pablo 'Bareta' Arauz, throwing a Molotov cocktail at one of the last remaining National Guard headquarters in Esteli, one day before Somoza would leave Nicaragua. Immediately chosen for publication by international magazines, the image became a symbol of the Nicaraguan revolution, and subsequently the artist’s authorship of the image was shared.
In History at the International Center of Photography
New York, 2008
Mediations at Palau de la Virreina
Barcelona, 2011
Mediations (1978–1982) is based on Meiselas’s initial experience during the popular insurrection in Nicaragua. The selection process of her images for the publication Nicaragua: June 1978–July 1979 and the use of the same photographs by the mass media left her with many questions about how images are used in different contexts. Mediations retraces the history of these images and the contexts in which they have been published or reappropriated.
The middle row displays laminated pages from the first edition of the publication Nicaragua: June 1978–July 1979 and framed images from the book that were displayed in early exhibitions in an art context.
The top row displays laminated tearsheets from magazines and newspapers that published images Meiselas took in Nicaragua.
The bottom row displays laminated outtakes and laminated caption and text pages from the publication Nicaragua: June 1978–July 1979.
The Life of an Image: Molotov Man 1978 – 2009
“Molotov Man” is a photograph from Susan Meiselas’ landmark 1978-1979 photo essay, Nicaragua, which documented the popular insurrection against the Somoza dictatorship through the final weeks of the Sandinista victory. The photograph of “Molotov Man” depicts Pablo 'Bareta' Arauz, throwing a Molotov cocktail at one of the last remaining National Guard headquarters in Esteli, one day before Somoza would leave Nicaragua. Immediately chosen for publication by international magazines, the image became a symbol of the Nicaraguan revolution, and subsequently the artist’s authorship of the image was shared.