Cuban graphic design emerges as a vibrant and politically charged art form, reflecting the resilience and creativity of designers amidst challenging circumstances. Through a comprehensive analysis of the evolution of Cuban posters, this research illuminates the innovative techniques, visual languages, and ideological foundations that characterize the era’s influence on graphic design. The study not only sheds light on the intricate interplay of art, politics, and culture in Cuba but also highlights the far-reaching influence of Cuban designers on global visual communication. Art itself is profoundly influenced by politics and social events, serving as a mirror to societal changes and a medium for expressionism in all forms. The political climate and social movements shape the themes and messages conveyed in artworks, reflecting issues important at the time. Posters become tools for activism, challenging power structures and advocating for change. They capture the emotional and psychological impacts of social events, fostering empathy and awareness. Through this dynamic interplay, graphic design not only documents but also influences public perception and dialogue, highlighting its integral role in both reflecting and shaping the socio-political landscape. By unraveling the threads of history, politics, and creativity within Cuban graphic design, this paper offers valuable insights into impact it had on a worldwide scale. Additionally, this episode examines the transformative power of Cuban poster design in graphic communication, shaping societal narratives and challenging established norms through its messaging. Ultimately, this exploration of Cuban graphic design serves as a compelling case study, enriching our understanding of the intricate connections between design, society, and cultural evolution.

TIMELINE

1902 - Carteles magazine founded; early example of poster design in Cuba, primarily focused on advertising.

1900s–1950s - Posters used for public communication due to low literacy rates; emphasis on commercial advertising.

1933 - Revolt of the Sergeants overthrows Cuban government; Fulgencio Batista appoints himself military commander and becomes de facto leader.

1940 - Batista is elected President of Cuba.

1944 - Batista completes term and moves to Florida.

1952 - Batista returns to Cuba, leads a military coup, cancels elections, and declares himself president/dictator.

1950s - Batista’s regime marked by corruption, censorship, and repression; Cuban society suffers from severe inequality.

1959 - Fidel Castro overthrows Batista, marking a dramatic political and cultural shift in Cuba.

1959 - Cuban graphic design shifts from commercial to social and political messaging—literacy, public health, and motivation campaigns.

1959 - ICAIC (Instituto Cubano del Arte e Industria Cinematográficos) founded by Saúl Yelin and Alfredo Guevara.

1960 - ICAIC opens its own screen-printing workshop, ushering in the “golden age” of Cuban poster design.

1963–1982 - Antonio Reboiro works as a designer at ICAIC, opposing Socialist Realism and promoting creative freedom in revolutionary art.

1966 - OSPAAAL (Organization of Solidarity with the People of Asia, Africa, and Latin America) founded after the Tricontinental Conference.

1969 & 1971 - René Mederos travels to Vietnam to document the war; creates vivid poster series from firsthand experience.

1960s–1970s - OSPAAAL posters highlight international struggles, e.g., Lázaro Abreu’s “Solidarity with the African American People”; feature work by Emory Douglas of the Black Panther Party. Posters produced in multiple languages (Spanish, English, French, Arabic) and distributed via Tricontinental magazine. Posters focus on anti-imperialist solidarity, with themes supporting Vietnam, Black Americans, the Congo, and more.

1980s–2000s - Political and technological changes mark the decline of the golden age of Cuban poster art.

REFERENCES

Bardellotto, L., & De Mattio, P. (2016). Cinema in the Cuban graphics: posters from the Bardellotto Collection. Silvana.

Cant, A. (2012). “Land for those who work it”: a visual analysis of Agrarian reform posters in Velasco’s Peru. Journal of Latin American Studies, 44(1), 1–37.

Casals, M. (2020). Chilean! Is This How You Want to See Your Daughter? The Cuban Revolution and Representations of Gender and Family during Chile’s 1964 Anticommunist “Campaign of Terror.” Radical History Review, 136, 111–127.

Celina. (2023, July 31). The Art of the Revolution will be Internationalist. Tricontinental: Institute for Social Research. https://thetricontinental.org/the-art-of-the-revolution-will-be-internationalist/

Corrigan, L. M. (2014). Visual rhetoric and oppositional consciousness: poster art in Cuba and the United States. Intertexts (Lubbock, Tex.), vol. 18, no. 1, 71–91. https://doi.org/10.1353/itx.2014.0006

Cushing, L. (2023). How Poster Art of the “Long 1960s” Fueled International Solidarity. Brown Journal of World Affairs, 29(2), 1–18.

Cushing, L. (2003). Revolución!: Cuban poster art. Chronicle Books.

Dwyer, M. (2016, September 27). Step Inside Cuba's Oldest Printmaking Studio. Smithsonian Magazine. https://www.smithsonianmag.com/travel/cuban-lithography-printmaking-tradition-culturaltravel-180960612/

Fleming, D. (2017). Art of solidarity: Cuban posters for African liberation 1967–1989. Museum Worlds, 5(1), 224-226. https://doi.org/10.3167/armw.2017.050118

Mage, Wohlforth, & Robertson. (1960). The Cuban Revolution and Marxist theory. Marxists.org. https://www.marxists.org/history/etol/document/icl-spartacists/cuba/cuba-mt.html

Solidarity and design: An introduction to OSPAAAL · V&A. (n.d.). Victoria and Albert Museum. https://www.vam.ac.uk/articles/solidarity-and-design-an-introduction-to-ospaaal?srsltid=AfmBOorXvX_CHRG8XK75Sye76DTmDg2u1xbwDlILkYS9bmDCKhbFWEby

Turner, N. (2017) "Hollywood in Havana: Five Decades Of Cuban Posters Promoting U.S. Films." Riot Material. https://www.riotmaterial.com/hollywood-havana-five-decades-cuban-posters-promotingus-films/

Uriarte, L. F. (2005). Modernity and postmodernity from Cuba. Journal of Design History, 18(3), 245–255. https://doi.org/10.1093/jdh/epi047