441:. As Guevara's eventual capture or death appeared to be imminent with the CIA closing in on his whereabouts, Feltrinelli acquired the rights to publish Che's captured Bolivian Diary. At this time Feltrinelli asked Cuban officials where to obtain Guevara images and was directed to Korda's studio where he presented a letter of introduction from the government. The document asked for Korda's assistance in finding a good portrait of Che. Korda knew right away that his favorite image of Che was perfect and pointed to the 1960 shot of Che hanging on the wall, saying that the photograph was the best of those he had taken of Che. Feltrinelli agreed and ordered 2 prints. When he returned the next day to pick them up Korda told him that because he was a friend of the revolution he did not have to pay.
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anyone." At this time
Fitzpatrick said that "I love the picture and wherever I am in the world, if I see it, I take a photo of it. I always have a chuckle when I see that little 'F'. I know that it's mine." In November 2008, Fitzpatrick announced that he would be signing over the copyright of his Che image to the William Soler Pediatric Cardiology Hospital in Havana, Cuba. In announcing his reason for ensuring all future proceeds would go to the children's hospital, Fitzpatrick stated that "Cuba trains doctors and then sends them around the world ... I want their medical system to benefit." Additionally, Fitzpatrick publicized his desire to gift the original artwork to the archive run by Guevara's widow, Aleida March.
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not print. It was considered far too strong and revolutionary. I was very inspired by Che's trip to
Bolivia. He went there with the intent to overthrow the intensely corrupt government, helped by the Americans at the time, and that's where he died. I thought he was one of the greatest men who ever lived and I still do in many ways. And when he was murdered, I decided I wanted to do something about it, so I created the poster. I felt this image had to come out, or he would not be commemorated otherwise, he would go where heroes go, which is usually into anonymity.
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the shot is particularly crucial, as profiles have little impact and full frontals tend to flatten the features. The direction and intensity of the subject's gaze is also key. Che is looking past the camera, out to his vision. His line of vision has been much tinkered with by various artists, but it retains its passion even on a table mat or a screensaver. An image like this is about a sign: it's a shorthand. This particular one now stands for opposition to the establishment, freedom and revolution.
1387:. She expressed a skeptical view towards Korda's heirs being able to establish ownership over the image, noting in reference to the lawsuits involving the image, "There was never any official ruling on whether the depiction constituted a violation of copyright." The author goes on to state that: "Korda took the picture while working for a state-run newspaper, his actual property rights would be questionable under both Cuban and international law."
1216:, notes how the universal image can be found "in all corners of the world" and theorizes that it arrived as a symbol of rebellion during an era when the world was aching for change. In defining Korda's photograph as a "brand" and "quintessential post-modern icon", Casey notes that somehow the photograph encapsulates "hope and beauty", which causes people around the globe to "invest their dreams in it". While David Kunzle, author of the book
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protesting and striking; it was the age of free love and flower power; it was the pop age; it was the age of religious revolution. The time was ripe for a figure, an image that could represent this great diversity in thinking and behavior the world over. Che's role in the Cuban
Revolution made him a revered symbol of world class struggle, equality and freedom from domination and his premature death in 1967 elevated him to almost martyrdom.
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462:, Italy, when spontaneous protests occurred in response to the news of Che's death. Italian photographer Giorgio Mondolfo later stated that "the first time I saw the picture by Alberto Korda, I was not even slightly interested in the author. I was only fifteen, and it was the picture that had drawn us – many for the first time – to gather in the streets, crying
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anyone for free in London, in addition to getting friends to pass them out while encouraging others to make their own versions. He printed about a hundred copies at a time to fulfill the demand of political groups in
Ireland, France, and the Netherlands who began requesting the image. A batch was also sent to Spain, where they were seized by
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288:, and also gave copies to some others as a gift. It was not until 1986 that José Figueroa, an established photographer in his own right who printed for Korda and was his unofficially "adopted" son, suggested they try printing the full frame version of the portrait. Korda continued to print both versions of the image up until his death.
337:. Korda reasoned that Che's image represented his revolutionary ideals, and thus the more his picture spread the greater the chance Che's ideals would spread as well. Korda's refusal to seek royalties for the vast circulation of his photograph "helped it become the ultimate symbol of Marxist revolution and anti-imperialist struggle."
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136:. 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 photograph showed Che's firm and stoical character. Guevara was 31 years old at the time the photograph was taken.
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hold any rights associated with the photograph." In regards to the more commonly disseminated stylized version of the photograph, lawyers say it will be an uphill struggle to deter non-photographic use of such a widely reproduced image, other than in countries like Italy where laws protect image rights.
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of Che has stated that "Che
Guevara has become a brand. And the brand's logo is the image, which represents change. It has become the icon of the outside thinker, at whatever level, whether it is anti-war, pro-green or anti-globalisation. Its presence, everywhere from Belfast to Soweto, or from walls
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When you look closely, you can see that many iconic photographs are constructed in the same way; it is possible to copy the formula. Look at some of the most enduring images of our age … Like Che, they are shot from below against a light background, giving them a raised, Godlike quality. The angle of
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In judging the enduring appeal of the image, Darrel
Couturier, representative for Korda since 1997, has opined that it was "the image of a very dashing young man" and that in the "age of free love and flower power ... the time was ripe for a figure" or "image that could represent this great diversity
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As a supporter of the ideals for which Che
Guevara died, I am not averse to its reproduction by those who wish to propagate his memory and the cause of social justice throughout the world, but I am categorically against the exploitation of Che's image for the promotion of products such as alcohol, or
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The first image I did of Che was psychedelic, it looks like he is in seaweed. His hair was not hair, it was shapes that I felt gave it an extra dimension. That was the image I produced for the magazine and that was done before he died and that is the important thing about that image. At first it did
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eulogy on
October 18, 1967, publicly acknowledging the death of Che Guevara before a crowd of more than a million mourners. José Gómez Fresquet, renowned Cuban poster maker and graphic artist, recalls how on hearing the news of Guevara's death, he immediately worked all night producing the poster to
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with an inverted five-pointed brass star. Korda snapped just two frames of him from a distance of about 25–30 ft (7.6–9.1 m) before he disappeared from sight. Korda immediately realised his photograph had the attributes of a portrait. Later, Korda said of this photograph, "I remember it as
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In 2007, law student Sarah Levy also addressed the potential legal status of the image in Cuba. It was her ultimate contention that "in Cuba the copyright protection in Korda's
Guevara photograph would have already expired, and despite the claims of ownership from Korda's heirs, the State would now
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If this were a photo session, you couldn't have asked for more. The model, long-haired with steely gaze and wispy guerrillero beard. Jacket zipped to the chin. Collar up and hair uncombed. Jaw set in anger. Beret at a perfect, rakish tilt. There's tension even in his pose: his shoulders turning one
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To create the image
Fitzpatrick made a paper negative on a piece of equipment called a grant. They were then printed in one color black and one color red, and he handpainted the star in yellow. Fitzpatrick "wanted the image to breed like rabbits" and hand printed thousands of images to give away to
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concept" which meant that artists and advertisers were free to use Korda's work as they pleased. Legally, Cuban Law no. 156 signed on September 28, 1994, to amend part of Law no. 14 of the 1977 Copyright Act (Article 47), states that pictures taken in Cuba fall into the public domain worldwide, 25
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The article ended by asking "Where is Che Guevara?" The caption of the photograph read "The official photograph of Che Guevara; on his beret the star, the symbol of the Comandante." It is not known who provided the magazine with the image, and it was also not credited to Feltrinelli. However, with
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Because of Fitzpatrick's desire for the photograph to reflect something of himself, he raised Che's eyes more and added his initial, an "F", on the shoulder. It was not until the 40th anniversary of Che's death that Fitzpatrick admitted to this fact stating "I’m a bit mischievous, so I never told
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that are not recognized in the U.S., but are recognized in some other countries, notably in France where Diaz filed the lawsuit. Moral rights aim to protect the integrity of a work from defamation, distortion, slander, or offensive mutilation, even if the originator no longer owns the copyright.
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It is the image of a very dashing young man who was part of a revolution. This was a revolution of the people for the people in a time when there was a great unrest in many parts of the world, particularly in Latin America, Europe and the US. The Vietnam War was raging; students and workers were
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as "one of the great icons of the 20th century". When converted into a stark black cut-out, Korda's photograph became easy, cheap, and fast to copy using the favored material and method of the 1960s: lith film and screen painting. By the time of his death in 1967, Che was already "a legend, the
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with Korda's photograph on the cover was released worldwide. Feltrinelli also created posters to promote the book, crediting the copyright to © Libreria Feltrinelli 1967 (in the lower left hand corner of the image) with no mention of Korda. By this time, Korda's image had officially entered the
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Cuban historian Edmundo Desnoes has stated that "Che's image may be cast aside, bought and sold and deified, but it will form a part of the universal system of the revolutionary struggle, and can recover its original meaning at any moment." That meaning's origin harkens back to when Korda's
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where Korda worked, decided to use only his shots of Castro, Sartre, and de Beauvoir, while sending the Che shot back to Korda. Believing the image was powerful, Korda made a cropped version for himself, which he enlarged and hung on his wall next to a portrait of the Chilean poet
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evokes even more praise, decreeing it "absolutely the most famous of history" while proclaiming that it "captures beauty and youth, courage and generosity, aesthetic and moral virtues of a person who possessed all the characteristics necessary to be converted into a symbol of an
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who met with Che Guevara several times expressed a similar view, by stating how he was "struck by his magnetic physical attraction, comparable to the aura of a rock star". In Gott's opinion "almost everyone had the same impression, and journalists were particularly susceptible".
1414:. Guevara's Cuban widow Aleida March stated in 2005 that "We have a plan to deal with the misuse. We can't attack everyone with lances like Don Quixote, but we can try to maintain the ethics of Guevara's legacy." In reference to this pronouncement, Guevara's daughter
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public consciousness. Alberto Korda later expounded that if Feltrinelli had paid him just one lira for each reproduction, that he would have received millions. However, Korda also expressed that he forgave him, because through his actions, the image became famous.
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Korda's image has worked its way into languages around the world. It has become an alpha-numeric symbol, a hieroglyph, an instant symbol. It mysteriously reappears whenever there's a conflict. There isn’t anything else in history that serves in this
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called the picture a symbol of the 20th century and the world's most famous photograph. Versions of it have been painted, printed, digitized, embroidered, tattooed, silk-screened, sculpted or sketched on nearly every surface imaginable, leading the
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symbol for a new generation of youth. The image is now worn on the chests of a diverse group of individuals, from those who truly support the ideals that Che Guevara lived for, to those expressing a more generalized anti-authoritarian stance.
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Alberto Korda's photograph has received wide distribution and modification, appearing on countless numbers of T-shirts, posters, consumer products, protest banners, personal tattoos, and in many other formats. It has morphed into an iconic
387:, advertising a noon conference during which the main speaker was "Dr. Ernesto 'Che' Guevara". The conference was disrupted when 1,300 CIA-supported counter-revolutionaries stormed the beaches of Cuba, in what became known as the failed
1290:(translation: "Towards Victory, Always"). The multi-meaning phrase became the sign off for Che Guevara's numerous letters and speeches as a revolutionary, and represent the commitment to both never give up on the eventual triumph of a
201:, killing up to 100 people and injuring several hundred more. Upon hearing the blast, Guevara rushed to the harbor to board the burning ship, angrily forcing his way past those concerned for his safety following a secondary explosion.
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romantic epitome of worldwide rebellion" and in the wake of his perceived martyrdom, Korda's photograph went viral. Rebellious young people found in it a "sense of empowerment, a crystallization of the perennial idealism of youth".
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and produced a variety of posters in 1967 using the Korda image. All of them were created without copyright, because Fitzpatrick wanted them to be reproduced. One of these posters would be published in the satirical magazine
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and a palm tree; the second with someone's head appearing above his shoulder. The first picture, with the intruding material cropped out and the image rotated slightly, became Guevara's most famous portrait. The editor of
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It is the photograph that adorns student bedsits across the world. The famed black and white portrait of Ernesto "Che" Guevara perfectly captured his intense stare and brooding good looks, helping establish his myth.
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However, Korda did not want commercialization of the image in relation to products he believed Guevara would not support, especially alcohol. This belief was displayed for the first time in 2000, when in response to
391:. The image was thus republished a second time advertising the newly convened conference on April 28, 1961. Che, who died six years later, could have seen the photograph that would contribute to his iconic status.
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Upon his return to Italy, Feltrinelli disseminated thousands of copies of the poster to raise awareness of Che's precarious situation and impending demise. Later in 1967 after his October 9, 1967 execution, Che's
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photography museum, has remarked that "pop art is a rejection of traditional figuration, rhetoric, and rendition. Its egalitarian anti-art stance was the perfect corollary for Che's anti-establishment attitude."
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Passed out to the occasional friend and published in a few small Cuban publications, Che's image remained relatively unknown for 7 years. A print was sold or given to wealthy Italian publisher and intellectual
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271:, both admirers of Guevara at the time. Included in the film roll were shots of all the speakers and two pictures of Che's brief appearance. The classic picture appears on frame number 40 shot horizontally.
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The stylized image of Che Guevara, adapted from Korda's photograph, is commonly accompanied by several different symbols that add context to its inherent suggested meaning. The most common of these are the
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In 1968, Elena Serrano produced a widely distributed poster titled "Day of the Heroic Guerrilla", which shows telescoping images of Korda's photograph expanding to cover the entire red map of South America.
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as a "statuesque image taken from below", which "derives from a visual language of mythologized heroes harking back to an era of socialist realism" while referencing "a classical Christ-like demeanor".
623:, with Adams remarking "I suppose people from my background were drawn to that image, because of what Che Guevara represented." To mark the 50th anniversary of Guevara's death the Irish postal service
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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."
216:, to honor the victims. At the time, Guevara was Minister of Industry in the new government, and Korda was Castro's official photographer. After a funeral march along the seafront boulevard known as
592:. The best-known was printed on silver foil and was exhibited in an exhibition in London called "Viva Che" at the Arts Laboratory, curated by Peter Meyer. This show was originally to be held at the
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The Che image has been cited as an example of the merging of politics and marketing and the power that images hold over our society. Trisha Ziff, the curator of a 2004 touring exhibition on the
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be used at the rally honoring him the next day. Korda had given Fresquet a copy of the portrait as a basis for the poster, which he created on red paper. This was the first privately produced
1268:, in the photograph Che appears "as the ultimate revolutionary icon" with "his eyes staring boldly into the future" and "his expression a virile embodiment of outrage at social injustice".
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issued a €1 stamp featuring Fitzpatrick's stylised version of the image. The initial print run of 122,000 sold out within days with An Post saying they experienced "unprecedented demand".
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designed a poster with the words "Che Si" (translation: 'Yes Che') emblazoned over his face as eyes and nose. This was later featured on the October 1967 cover of the French art magazine
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magazine, in an August 8, 1960, cover story after meeting with Guevara displayed this view, by remarking that Che wore "a smile of melancholy sweetness that many women find devastating".
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357:. The final result was an out-of-court settlement for US$ 50,000, which Korda donated to the Cuban healthcare system, saying, "If Che was still alive, he would have done the same."
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485:. Published only a few months before his eventual capture and execution, the issue featured a major article titled "Les Guerrilleros" by journalist Jean Lartéguy. Lartéguy wrote
398:, was upon Che's death in 1967. Upon the news of Che's execution, it was enlarged and draped on a banner down the five-story building of the Ministry of the Interior in the
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was also using Korda's image as a basis for creating his own stylized posters. Fitzpatrick claims he received a copy of the photograph from the Dutch anarchist group "the
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journalist Julia Costenlos, recalls that in her view he was "blessed with a unique appeal, an incalculable enchantment that came completely naturally". Even under duress,
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claimed no payment for his picture. A modified version of the portrait through the decades was also reproduced on a range of different media, though Korda never asked for
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Plus-X pan film. In speaking about the method, Korda remarked that "this photograph is not the product of knowledge or technique. It was really coincidence, pure luck."
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way, his face another. And those eyes, mournful but defiant, staring up and to the right as if at some distant vision of the future, or a giant, slow-approaching foe.
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in thinking and behavior the world over". According to Couturier, this "age of religious revolution", matched with Guevara's premature death, "elevated him to almost
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Despite conflicting claims about whether or not the image could have copyright established, Korda's children have sought to control commercial use of the image from
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created in Cuba. Since then the building has seen many versions of the image, and today a permanent steel outline, derived from the photograph, adorns the building.
86:, increasing the contrast, and making other slight adjustments, Korda gave Guevara's image "an ageless quality, divorced from the specifics of time and place."
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in 1967. Feltrinelli had just returned from Bolivia where he had hoped his fame would help in negotiating the release of French journalist and professor
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in the Palestinian territories to Parisian boutiques, makes it an image that is out of control. It has become a corporation, an empire, at this point."
353:) and sued advertising agency Lowe Lintas and Rex Features, the company that supplied the photograph. Lintas and Rex claimed that the image was in the
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2009, the Dom Nashchokina Gallery in Moscow, hosted the exhibition "Che: Hasta Siempre! Meet You in the Eternity" from June 18 to September 20, 2009.
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As pop artists took to the image with glee, it evolved into a popular and heavily commercialized icon that often strayed far from Che's hard-line
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in New York City, hosted the exhibition "Cuba in Revolution" from November 11 to January 9, 2011 – which featured several versions of the image.
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if it were today … seeing him framed in the viewfinder, with that expression. I am still startled by the impact … it shakes me so powerfully".
132:. By the end of the 1960s, the image, in conjunction with Guevara's subsequent actions and eventual execution, helped solidify the leader as a
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220:, Fidel Castro gave a eulogy for the fallen at a stage on the corner of 23rd and 12th streets. Castro gave a fiery speech, using the words
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650:. Paul Davis has stated that he was "inspired by Italian paintings of martyred saints and Christ", in his romanticised version of Che.
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Ariana Hernández-Reguant, Copyrighting Che: Art and Authorship under Cuban Late Socialism, Public Culture 2004 v. 16 pp. 1–30. pg 4
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utilized Fitzpatrick's rendition of Che during the protests. At this time, Che's image was picked up by the Dutch anarchist group
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1990, the Jour Agnes B Gallery in Paris, France, presented an exhibit of Korda's image titled "Che Guevara: A 21st Century Man".
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in Los Angeles, California, featured an exhibition compiled by David Kunzle titled "Che Guevara: Icon, Myth and Message".
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1371:, Diaz's lawyer, Randy Yaloz remarked that "we are going after everyone who betrays the moral rights of my client".
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The original image, from which the popularized portrait was derived. By cropping out a palm tree and the profile of
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The 150th Anniversary of Photography catalogue, an exhibition curated by Guiliana Scimè, Pier Paolo Pasolini, 1988.
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The first time Cubans on a large scale became familiar with the photograph, despite its earlier reproduction in
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2107:"Artist reveals his guerrilla tactics with iconic image’s secret mark", by Web Studio Ireland, October 9, 2007
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After the settlement, Korda reiterated that he was not against its propagation altogether, telling reporters:
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featured an exhibition titled "Revolution and Commerce: The Legacy of Korda's Portrait of Che Guevara".
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Che is an impetuous man with burning eyes and profound intelligence who seems born to make revolution.
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in Amsterdam, who focused on triggering violent responses from authorities through non-violent means.
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Guevara's heirs also believe they have legal justification to prevent the image's "exploitation" or
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However, Reporters Without Borders stopped using the image before any legal judgment was rendered.
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Maryland Institute of Art, referenced at BBC News, "Che Guevara photographer dies", May 26, 2001.
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in Amsterdam held a special exhibition about the photograph titled "Che! A Commercial Revolution".
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However, the fascination was not solely an American phenomenon. For instance, British journalist
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Hernandez-Reguant, Ariana. "Copyrighting Che: Art and Authorship under Cuban Late Socialism".
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The history and contemporary global impact of the image is the basis for the 2008 documentary
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1968, the Arts Laboratory in London held an exhibition on the photograph entitled "Viva Che".
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2072:"A phone conversation between Aleksandra Mir and Jim Fitzpatrick, (Dublin), January 3, 2005"
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a life of its own, an enduring fascination independent of Che himself. The Italian magazine
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Darrel Couturier, Alberto Korda's agent who arranged his first U.S. exhibition in the 1998
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in 1968 and illustrates how fast the image moved from protest into the realm of fine art.
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1567:, 2008, Produced by Trisha Ziff & Directed by Luis Lopez, Red Envelope Entertainment.
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to say that the photograph has been reproduced more than any other image in photography.
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Ariana Hernández-Reguant addressed the image's copyright status in 2004 in her article
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its wide circulation throughout Europe, and its status as an influential news journal,
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about the famous photograph. As he speaks, the film shows a montage of Che murals in
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Che Guevara (third from left) and Fidel Castro (far left) marching to Colón Cemetery.
133:
114:
107:
83:
47:
954:, hosted the exhibit "Narrative of a Portrait: Korda's Che from Revolution to Icon".
3553:
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2731:"Che Guevara: Revolutionary & Icon", by Trisha Ziff, Abrams Image, 2006, pg 88
2676:
2095:"Che Guevara: Revolutionary & Icon", by Trisha Ziff, Abrams Image, 2006, pg 21
2052:"Che Guevara: Revolutionary & Icon", by Trisha Ziff, Abrams Image, 2006, pg 19
1662:"Che Guevara: Revolutionary & Icon", by Trisha Ziff, Abrams Image, 2006, pg 33
1070:" features a mirrored version of the iconic two-tone portrait by Jim Fitzpatrick.
608:
2300:
1319:
by those who continue to support and/or admire Che Guevara's life and/or ideals.
227:
Meanwhile, at 11:20 am, Guevara came into view for a few seconds, wearing a
3601:
3460:
3309:
3222:
2377:
Robert W. Butler, "A look at Che Guevara through the Lens of his Iconic Image",
2038:
Trisha Ziff (2006), "Che Guevara: Revolutionary & Icon", Abrams Image, p. 16
1563:
1352:
1312:
1159:
1079:
magazine titled: "The Myth of Che Guevara", featured Che's image adorned with a
1075:
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973:
612:
588:
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167:
110:
36:
2401:
Trisha Ziff, "Che Guevara: Revolutionary & Icon", Abrams Image, 2006, pg 75
2392:
Trisha Ziff, "Che Guevara: Revolutionary & Icon", Abrams Image, 2006, p. 41
2365:
Trisha Ziff, "Che Guevara: Revolutionary & Icon", Abrams Image, 2006, p. 42
2181:
Trisha Ziff, "Che Guevara: Revolutionary & Icon", Abrams Image, 2006, p. 22
383:
photograph was first published on April 16, 1961, in the daily Cuban newspaper
239:
183:
2001:
1713:
1360:
1281:
1142:
778:
748:
406:. This building where Che himself had formerly worked served as a backdrop to
100:
2484:
1975:
After 40 Years and Millions of Posters, Che's Photographer Sues for Copyright
259:
During the rally, Korda took pictures of Cuban dignitaries and famous French
3516:
2586:"WestLicht Gallery Reconsiders Che Guevara in Photography Exhibit in Vienna"
1840:
1067:
896:
in London hosted an exhibition titled "Che Guevara: Revolutionary and Icon".
872:
861:
798:
like ours, lacking in historic legends and mythic incarnations." Journalist
711:
694:
689:
558:. Fitzpatrick's source of the image, then, would not have been Feltrinelli.
538:
334:
322:
2019:
889:
in New York City held an exhibition titled "¡Che! Revolution and Commerce".
2531:
1231:
3043:"A Copyright Revolution: Protecting the Famous Photograph of Che Guevara"
1273:
1236:
947:
342:
306:
295:
2528:"Revolution and Commerce: The Legacy of Korda's Portrait of Che Guevara"
274:
The first photograph had Guevara framed alone between the silhouette of
3150:
2006:
1419:
1411:
1291:
1180:
978:
802:
has also remarked that "the red star in Che's beret was up there with '
744:
624:
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581:
Because of the high demand, Fitzpatrick formed a poster company called
247:
appears on the fourth row down, third picture over (shot horizontally).
104:
698:
journalist Henry Brandon, who spoke with Guevara at the height of the
1308:
951:
936:
925:
702:, remarked that Che possessed a "genial charm" that "might have made
403:
228:
212:
and called for a memorial service and mass demonstration at Havana's
118:
2506:"35 years without Che Guevara – Photography Exhibition in Rethymnon"
1617:
Communists, Capitalists still buy into Iconic Che Photo, Author says
1526:, by Christophe Loviny & Alberto Korda, Ocean Press (AU), 2006,
921:
in Miami, Florida, presented an exhibition featuring the photograph.
506:
could also be viewed as one of the original purveyors of the image.
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all over the world, the Americans run the risk of finding their own
78:
1539:, by Ernesto Guevara & Victor Casaus, Ocean Press (AU), 2004,
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122:
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3025:
40 Years After Che Guevara's Death, his Image is a Battleground
1385:
Copyrighting Che: Art and Authorship under Cuban Late Socialism
458:
Feltrinelli's version of the image was used in October 1967 in
139:
Emphasizing the image's ubiquitous nature and wide appeal, the
3191:
3085:
1621:
345:
using Che's picture in a vodka commercial, Korda claimed his
864:, Greece, presented an exhibit titled "Che Guevara's Death".
785:. Its story, a complex mesh of conflicting narratives, gave
542:
The original 1968 stylized image created by Jim Fitzpatrick.
1911:
by Emilio Brizzi, On Photography And More, February 5, 2007
1297:, and the belief that this victory once it occurs, will be
2572:
Raina McLeod, "Meet the Man Behind the Dorm Room Poster",
2417:'Korda’s Che from Revolution to Icon' Travels to İstanbul"
2285:'Korda’s Che from Revolution to Icon' travels to İstanbul"
1801:"La historia detrás de la foto más famosa del Che Guevara"
939:, Cuba, held an exhibition titled "Korda, Known. Unknown."
1028:, featured Che's image in a painted form by Paul Davis.
642:
billboards, when the image appeared in painted form by
365:
for any purpose that denigrates the reputation of Che.
2992:
Intellectual Property Rights: Critical Concepts in Law
1573:, 2008, Directed by Adriana Mariño and Douglas Duarte.
1090:
appeared on the cover of the March 1–7, 2006 issue of
3585:
3015:– Volume 16, Number 1, Winter 2004, pp. 1–29, – pp. 4
2994:, Volume 2, by D. Vaver, Taylor & Francis, 2006,
2143:"Gerry Adams Featured in New Che Guevara Documentary"
489:
At a time when Cuban revolutionaries want to create
171:, directed by Trisha Ziff, along with the 2009 book
3545:
3486:
3470:
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3383:
3297:
3229:
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2526:UCR/California Museum of Photography (1960-03-05).
2475:
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1921:
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1917:
1879:
1877:
68:
53:
43:
23:
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2048:
2046:
2044:
1926:Introduction: Korda's Che Moves Out into the World
1856:Iconic Photo of Che Guevara Now Half a Century Old
1559:, 2008 (87 min). Directed by Hector Cruz Sandoval.
1461:, by Diana Diaz & Mark Sanders, Steidl, 2007,
2553:"V&A – Che Guevara: Revolutionary & Icon"
1826:
1824:
1822:
1432:List of photographs considered the most important
646:, for a poster advertising the February issue of
522:government (but did not overthrow it), organizer
2671:
2669:
1714:"Che as revolutionary and icon, by Corinna Lotz"
298:, similar to the one the photograph was taken on
3095:directed by Adriana Mariño & Douglas Duarte
2344:
2342:
2207:
2205:
2103:
2101:
1390:
1339:For decades the famous image was unhindered by
1191:
1037:featured a conjoined image of Korda's Che with
989:
830:
727:
653:
560:
362:
2975:Korda Daughter Sues RSF Over Image of Che, by
2950:Che's Family Plans to Fight Use of Famed Photo
2265:"Attack us at your peril, cocky Cuba warns US"
2213:"The story of the iconic image of Che Guevara"
1331:A 2009 highway billboard with Che's slogan of
3207:
2922:WIPO Guide to Intellectual Property Worldwide
2902:"Remembering Che: Hasta La Victoria Siempre!"
2193:, "This is Castro's Cuba Seen Face to Face",
1474:, by Michael Casey, Vintage Books USA, 2009,
1302:
1285:
1243:, announcing the district conference for the
932:in relation to the "development of a mythos".
255:The two photographs of Che from Korda's film.
8:
2159:"Demand for Che Guevara stamp 'unprecedented
1757:Brand Che: Revolutionary as Marketer’s Dream
1590:Brand Che: Revolutionary as Marketer's Dream
1138:Che Guevara clothing and fashion accessories
2002:Cuba's Che Photographer Korda Dies in Paris
1653:, by Trisha Ziff, Abrams Image, 2006, pg 15
1212:Journalist Michael Casey, in his 2009 book
867:2004, the Centro Nacional de la Música, in
125:, at a memorial service for victims of the
3214:
3200:
3192:
2660:Rolling Stone Magazine (Argentine edition)
2640:Row rages over iconic image of Che Guevara
2328:Che: The Birthday of a Revolutionary Brand
2323:
2321:
2319:
1612:
1610:
1608:
1343:, because Cuba was not a signatory to the
479:also appeared in the August 1967 issue of
224:("Homeland or Death") for the first time.
29:
20:
2882:"Plaza of the Revolution in Havana, Cuba"
1851:
1849:
1779:
1777:
1775:
860:2003, the Centre for Contemporary Art in
3169:Che Guevara, Revolutionary or Chic Icon?
2987:
2985:
2971:
2969:
2750:by Trisha Ziff, UCR exhibit introduction
2409:
2407:
2373:
2371:
1945:Alberto Korda at The Art History Archive
1096:, above the title "The Blog Revolution".
378:Plaza de la Revolución – in Havana, Cuba
250:
238:
204:The following day on March 5, President
77:
3592:
3408:Episodes of the Cuban Revolutionary War
3152:Che's Afterlife: The Legacy of an Image
2622:"Tumult and Triumph in Black and White"
1582:
1472:Che's Afterlife: The Legacy of an Image
1214:Che's Afterlife: The Legacy of an Image
823:A public rock mosaic along a street in
631:The United States and further influence
615:is interviewed in the 2008 documentary
191:On March 4, 1960, the French freighter
173:Che's Afterlife: The Legacy of an Image
117:. It was captured on March 5, 1960, in
2609:"Meet Legendary Che Guevara in Moscow"
2436:"Korda's Che Moves Out into the World"
1511:Che: The Photobiography of Che Guevara
1487:, by Trisha Ziff, Abrams Image, 2006,
1224:functions subliminally as a flattened
2481:"Exposiciones Colectivas (Selección)"
1651:Che Guevara: Revolutionary & Icon
769:against government corruption in 2017
302:To take the photograph, Korda used a
7:
2741:Korda's Che Moves Out into the World
2074:. Aleksandramir.info. Archived from
1687:
1685:
1683:
1681:
1500:, by Oscar Sola, Pluto Press, 2000,
1446:List of works related to Che Guevara
1218:Che Guevara: Icon, Myth, and Message
928:, Austria, offered an exhibition on
880:UCR/California Museum of Photography
806:'." Jonathan Green, director of the
309:with a 90 mm lens, loaded with
154:UCR/California Museum of Photography
3186:The Story Behind Che’s Iconic Photo
2863:Che Guevara monument in Santa Clara
2710:Capitalizing on Che Guevara's image
2483:. Korda Por Siempre. Archived from
2029:Q-News, July 2006, Issue 367, pg 80
1891:. Findarticles.com. October 7, 2007
1485:Che Guevara: Revolutionary and Icon
1459:Alberto Korda: A Revolutionary Lens
962:International Center of Photography
887:International Center of Photography
781:Che and turned him into an icon of
638:made its American debut in 1968 on
3179:Che Guevara's Iconic Image Endures
3164:) – image collection from the book
3086:Official Website of "Personal Che"
1887:The Making of an Icon: Forty Years
1341:international copyright agreements
1073:The September 16, 1996 edition of
14:
2904:. Omega.wordpress.com. 2007-10-09
1957:Cuba, 5 March 1960: Alberto Korda
1784:Che Guevara: A Revolutionary Life
1635:Che Guevara: A Revolutionary Life
1266:Che Guevara: A Revolutionary Life
855:Fowler Museum of Cultural History
141:Maryland Institute College of Art
3595:
3568:
3567:
3288:
3188:by Orlando Luis Pardo Lazo, 2016
2457:"Cubarte Gallery: Alberto Korda"
1066:artwork for their 1993 single, "
1044:During a 1969 student strike at
919:Florida International University
3139:Che Guevara Spray Paint Stencil
3076:by Daniel Zugna, March 16, 2010
3057:by Joel Keller, April 27, 2008.
2662:. December 2008. p. cover.
2118:"Che and Share Alike, says Jim"
1909:"El Guerrillero Heroico (1960)"
1513:, Thunder's Mouth Press, 1998,
1188:on the side of a house in Cuba.
924:2008, the WestLicht Gallery in
1947:by Brandi Leigh, November 2007
1498:Che: Images of a Revolutionary
1055:produced a widely distributed
724:Che Guevara in popular culture
35:Alberto Korda's photograph of
1:
1868:Latin American Herald Tribune
1356:years after their first use.
935:2008, the Fototeca center in
804:Lucy in the Sky with Diamonds
518:, which eventually shook the
1935:by Trisha Ziff, January 2005
1889:, Sunday Herald, Oct 7 2007"
1807:(in Spanish). 5 October 2017
1375:are a separate component of
1284:, and the saying in Spanish
1253:Che! Revolution and Commerce
1251:Trisha Ziff, the curator of
1245:Students Federation of India
1109:featured the singer redoing
1086:A computerized rendition of
1031:The September 1969 issue of
981:poster advertising the 1969
738:, photographer and filmmaker
516:May 1968 Paris student riots
243:Korda's film contact sheet.
3633:Black-and-white photographs
3111:, by Stephanie Holmes, 2007
3055:Tribeca Review: Chevolution
1675:, accessed January 4, 2006.
1438:Further reading and viewing
1333:"Hasta la Victoria Siempre"
1304:"Hasta la Victoria Siempre"
1287:"Hasta la Victoria Siempre"
1116:The December 2008 issue of
1022:The 1968 February issue of
419:International dissemination
3674:
2677:"Che: The icon and the ad"
1743:by David Van Der Haeghen,
1443:
1335:(Towards Victory, Always).
1135:
899:2007, the La Triennale in
894:Victoria and Albert Museum
721:
146:Victoria and Albert Museum
97:"Heroic Guerrilla Fighter"
3563:
3433:Che (Part 1 & Part 2)
3286:
3116:Examining an Iconic Image
2837:Hasta la Victoria Siempre
2786:"Che + Hammer and Sickle"
1537:Self Portrait Che Guevara
1365:Reporters Without Borders
1146:T-shirts for sale at the
983:Tricontinental Conference
96:
28:
16:Photograph of Che Guevara
3447:The Hands of Che Guevara
3109:Che: The Icon and the Ad
1557:Che Guevara: Kordavision
1064:Rage Against the Machine
2333:The Wall Street Journal
1734:DVD Review: Chevolution
1220:, has opined that "The
1034:Tricontinental Magazine
431:Giangiacomo Feltrinelli
424:Giangiacomo Feltrinelli
57:March 5, 1960
3426:The Motorcycle Diaries
3394:The Motorcycle Diaries
3350:Harry "Pombo" Villegas
3181:by Martha Irvine, 2006
2694:"Guevara's Last Stand"
2199:, 15 March 1963, p. 41
1394:
1336:
1307:has become a de facto
1303:
1286:
1248:
1210:
1189:
1155:
1148:Museo de la Revolución
1053:Art Workers' Coalition
1008:In 1967 Polish artist
994:
986:
841:
828:
770:
741:
657:
571:
546:In 1967, Irish artist
543:
499:
400:Plaza de la Revolución
379:
367:
299:
256:
248:
188:
163:
156:, has speculated that
87:
3370:Canek Sánchez Guevara
3260:Battle of Santa Clara
3255:26th of July Movement
3171:by Tyler Vaughn, 2006
2350:"Just a Pretty Face?"
2330:by Michael J. Casey,
2301:Che: The Artists View
2191:Henri Cartier-Bresson
2004:by Andrew Cawthorne,
1330:
1234:
1183:
1145:
976:
822:
765:
662:Henri Cartier-Bresson
568:Jim Fitzpatrick, 2005
541:
487:
377:
325:and supporter of the
294:
254:
242:
186:
158:
81:
3658:Symbols of communism
3648:Portrait photographs
3270:Cuban Missile Crisis
3265:Bay of Pigs Invasion
2020:"Shaykh Che Guevara"
700:Cuban Missile Crisis
640:New York City Subway
389:Bay of Pigs invasion
3653:Portraits of people
3495:Guerrillero Heroico
3345:Simeon Cuba Sarabia
3131:Guerrillero Heroico
3121:Gallery of Pictures
3067:Review: Chevolution
2630:, November 11, 2010
2434:Trisha Ziff (2005),
2425:, November 10, 2008
2383:, February 19, 2010
2271:, November 2, 2008
2149:, September 8, 2009
2132:. November 30, 2008
1831:Obit: Alberto Korda
1351:described it as a "
1257:Guerrillero Heroico
1186:Guerrillero Heroico
1125:Guerrillero Heroico
1111:Guerrillero Heroico
1088:Guerrillero Heroico
930:Guerrillero Heróico
787:Guerrillero Heroico
756:Guerrillero Heroico
636:Guerrillero Heroico
477:Guerrillero Heroico
413:Guerrillero Heroico
245:Guerrillero Heroico
92:Guerrillero Heroico
24:Guerrillero Heroico
3507:In popular culture
3454:Che: Rise and Fall
3160:2012-10-18 at the
3144:2023-07-22 at the
3091:2008-09-14 at the
3072:2011-10-07 at the
3030:The New York Times
2955:2009-09-08 at the
2868:2009-03-05 at the
2811:"Che + Cuban Flag"
2746:2008-04-18 at the
2683:, October 5, 2007.
2675:Stephanie Holmes,
2627:The New York Times
2592:2008-12-21 at the
2576:, January 18, 2007
2442:2013-06-29 at the
2291:, October 20, 2008
2128:2008-12-07 at the
2025:2008-05-07 at the
1931:2013-06-29 at the
1861:2012-06-07 at the
1836:2008-12-21 at the
1766:The New York Times
1747:, January 16, 2010
1739:2010-02-14 at the
1673:Online at BBC News
1599:The New York Times
1337:
1249:
1190:
1156:
1083:of moving bullets.
1014:Opus International
987:
969:Posters and covers
829:
771:
718:In art and culture
544:
497:in Latin America.
380:
300:
269:Simone de Beauvoir
257:
249:
189:
175:by Michael Casey.
152:, director of the
88:
3628:1960s photographs
3583:
3582:
3401:Guerrilla Warfare
3335:Camilo Cienfuegos
3280:Bolivian Campaign
3133:: a Brief History
3033:, October 8, 2007
2963:, August 29, 2005
2815:Los Angeles Times
2719:Los Angeles Times
2642:by Jamie Doward,
2508:. Travel to Crete
2459:. Galeria Cubarte
2169:, 12 October 2017
2078:on March 16, 2011
1716:. Aworldtowin.net
1619:by Brian Byrnes,
1278:hammer and sickle
1205:Los Angeles Times
773:According to the
767:Romanian protests
747:message. British
329:until his death,
222:"Patria o Muerte"
76:
75:
3665:
3600:
3599:
3598:
3591:
3571:
3570:
3292:
3242:Cuban Revolution
3216:
3209:
3202:
3193:
3154:by Michael Casey
3096:
3083:
3077:
3064:
3058:
3052:
3046:
3040:
3034:
3022:
3016:
3009:
3003:
2989:
2980:
2973:
2964:
2946:
2933:
2919:
2913:
2912:
2910:
2909:
2898:
2892:
2891:
2889:
2888:
2878:
2872:
2860:
2854:
2853:
2851:
2850:
2841:. Archived from
2831:
2825:
2824:
2822:
2821:
2807:
2801:
2800:
2798:
2797:
2788:. Archived from
2782:
2776:
2775:
2773:
2772:
2763:. Archived from
2761:"Che + red star"
2757:
2751:
2738:
2732:
2729:
2723:
2707:
2701:
2690:
2684:
2673:
2664:
2663:
2655:
2649:
2637:
2631:
2618:
2612:
2606:
2600:
2583:
2577:
2570:
2564:
2563:
2561:
2560:
2549:
2543:
2542:
2540:
2539:
2530:. Archived from
2523:
2517:
2516:
2514:
2513:
2502:
2496:
2495:
2493:
2492:
2477:
2468:
2467:
2465:
2464:
2452:
2446:
2432:
2426:
2416:
2411:
2402:
2399:
2393:
2390:
2384:
2380:The Miami Herald
2375:
2366:
2363:
2357:
2346:
2337:
2325:
2314:
2298:
2292:
2284:
2278:
2272:
2261:
2255:
2244:
2238:
2237:, August 8, 1960
2229:"Castro's Brain"
2226:
2220:
2209:
2200:
2188:
2182:
2179:
2170:
2162:
2156:
2150:
2141:Kenneth Haynes,
2139:
2133:
2114:
2108:
2105:
2096:
2093:
2087:
2086:
2084:
2083:
2068:
2062:
2059:
2053:
2050:
2039:
2036:
2030:
2017:
2011:
1999:
1993:
1990:
1984:
1983:, August 7, 2000
1972:
1966:
1959:by Ian K Smith,
1954:
1948:
1942:
1936:
1923:
1912:
1906:
1900:
1899:
1897:
1896:
1881:
1872:
1853:
1844:
1828:
1817:
1816:
1814:
1812:
1797:
1791:
1788:Jon Lee Anderson
1781:
1770:
1769:, April 20, 2009
1761:Michiko Kakutani
1754:
1748:
1731:
1725:
1724:
1722:
1721:
1710:
1704:
1703:
1701:
1700:
1689:
1676:
1669:
1663:
1660:
1654:
1648:
1642:
1639:Jon Lee Anderson
1632:
1626:
1614:
1603:
1602:, April 20, 2009
1594:Michiko Kakutani
1587:
1402:
1401:, Che's daughter
1345:Berne Convention
1323:Copyright status
1306:
1295:world revolution
1289:
1262:Jon Lee Anderson
1235:A Che banner in
1208:
1057:anti-Vietnam War
1025:Evergreen Review
1010:Roman Cieslewicz
1003:
915:Frost Art Museum
839:
754:has referred to
739:
671:
648:Evergreen Review
569:
556:Jean-Paul Sartre
327:Cuban Revolution
265:Jean-Paul Sartre
208:blamed the U.S.
98:
64:
62:
33:
21:
3673:
3672:
3668:
3667:
3666:
3664:
3663:
3662:
3608:
3607:
3606:
3596:
3594:
3586:
3584:
3579:
3559:
3541:
3537:Jim Fitzpatrick
3482:
3466:
3413:
3379:
3365:Orlando Borrego
3360:Félix Rodríguez
3305:Alberto Granado
3293:
3284:
3237:Guatemalan Coup
3225:
3220:
3175:Washington Post
3162:Wayback Machine
3146:Wayback Machine
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115:Alberto Korda
112:
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108:revolutionary
106:
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84:Jorge Masetti
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56:
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3554:Vida del Che
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3406:
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3355:Régis Debray
3340:Tamara Bunke
3330:Fidel Castro
3315:Aleida March
3275:Congo Crisis
3247:
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3130:
3125:The Guardian
3124:
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3042:
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3007:
3002:, pg 273–280
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2932:, pg 144–147
2921:
2917:
2906:. Retrieved
2896:
2885:. Retrieved
2876:
2858:
2847:. Retrieved
2843:the original
2836:
2829:
2818:. Retrieved
2814:
2805:
2794:. Retrieved
2790:the original
2780:
2769:. Retrieved
2765:the original
2755:
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2727:
2717:
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2645:The Observer
2643:
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2604:
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2581:
2573:
2568:
2557:. Retrieved
2547:
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2532:the original
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2500:
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2485:the original
2461:. Retrieved
2450:
2430:
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2378:
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2354:The Observer
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2248:"Poster Boy"
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2076:the original
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1978:
1970:
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1952:
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1886:
1866:
1809:. Retrieved
1804:
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1708:
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1667:
1658:
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1620:
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1585:
1571:Personal Che
1570:
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1497:
1484:
1471:
1458:
1409:
1405:
1395:
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1373:Moral rights
1358:
1349:Fidel Castro
1338:
1332:
1315:, used as a
1270:
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1264:, author of
1256:
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1152:Havana, Cuba
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1023:
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1000:The Guardian
998:
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929:
908:Tropenmuseum
869:Buenos Aires
831:
800:Richard Gott
790:
786:
783:radical chic
772:
755:
742:
728:
708:
693:
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677:Richard Gott
674:
665:
658:
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635:
634:
616:
607:
598:
587:
582:
580:
572:
561:
545:
528:"The Provos"
513:
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463:
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446:
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435:Régis Debray
427:
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384:
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363:
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347:moral rights
339:
320:
301:
286:Pablo Neruda
280:
273:
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244:
231:and a black
226:
221:
206:Fidel Castro
203:
197:exploded in
193:
190:
172:
166:
164:
159:
138:
127:
91:
90:
89:
18:
3638:Che Guevara
3618:1960 in art
3478:Che'r Cycle
3461:Chevolution
3375:Mario Terán
3325:Raúl Castro
3310:Hilda Gadea
3223:Che Guevara
3114:CNN Video:
2555:. Vam.ac.uk
1811:13 November
1695:. Vam.ac.uk
1564:Chevolution
1313:catchphrase
1184:A mural of
1176:Iconography
1160:iconography
1076:Der Spiegel
1039:Ho Chi Minh
617:Chevolution
613:Gerry Adams
589:Private Eye
578:'s police.
514:During the
504:Paris Match
482:Paris Match
471:Paris Match
439:Che Guevara
370:Use in Cuba
349:(a form of
168:Chevolution
111:Che Guevara
37:Che Guevara
3623:1960 works
3612:Categories
3512:In fashion
2948:Reuters, "
2908:2011-03-05
2887:2011-03-05
2849:2011-03-05
2820:2011-03-05
2796:2011-03-05
2771:2011-03-05
2559:2011-03-05
2538:2011-03-05
2512:2011-03-05
2491:2011-03-05
2463:2011-03-05
2082:2011-03-05
1895:2011-03-05
1720:2011-03-05
1699:2011-03-05
1578:References
1361:defamation
1282:Cuban flag
1255:describes
1136:See also:
960:2010, the
942:2008, the
913:2007, the
906:2007, the
892:2006, the
885:2005, the
878:2005, the
850:1998, the
749:pop artist
706:envious".
644:Paul Davis
611:president
510:Paris 1968
464:Che lives!
454:Milan 1967
396:Revolución
385:Revolución
281:Revolución
101:photograph
95:(English:
72:Photograph
61:1960-03-05
3527:Mausoleum
3517:Guevarism
2977:Cuba News
2598:Art Daily
2455:Cubarte.
2269:The Times
2217:The Hindu
1841:The Times
1353:bourgeois
1132:Commodity
1123:features
1121:Argentina
1103:'s album
1099:In 2003,
1068:Bombtrack
873:Argentina
862:Rethymnon
712:martyrdom
695:The Times
690:Argentine
609:Sinn Féin
520:de Gaulle
335:royalties
323:communist
194:La Coubre
130:explosion
128:La Coubre
113:taken by
3574:Category
3158:Archived
3142:Archived
3089:Archived
3070:Archived
2953:Archived
2866:Archived
2744:Archived
2681:BBC News
2590:Archived
2440:Archived
2167:RTÉ News
2126:Archived
2023:Archived
1929:Archived
1859:Archived
1834:Archived
1745:DVD Town
1737:Archived
1426:See also
1274:red star
1237:Kasargod
1197:—
1046:Berkeley
948:Istanbul
836:—
815:Exhibits
733:—
566:—
491:Vietnams
343:Smirnoff
296:Leica M2
3471:Theatre
3167:MSNBC:
2007:Reuters
1865:by the
1420:Reuters
1412:slander
1299:eternal
1292:Marxist
1101:Madonna
979:OSPAAAL
779:deified
745:Marxist
625:An Post
621:Belfast
604:Ireland
495:Algeria
408:Fidel's
218:Malecón
179:Origins
105:Marxist
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3588:Portal
3546:Comics
3502:Legacy
3298:People
3250:Voyage
3248:Granma
3230:Events
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2928:
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952:Turkey
937:Havana
926:Vienna
670:, 1963
576:Franco
552:Provos
404:Havana
229:jacket
119:Havana
44:Artist
3497:photo
3418:Films
3385:Books
3123:from
3107:BBC:
1786:, by
1637:, by
1551:Films
1453:Books
1418:told
1369:euros
1317:motto
1241:India
1222:beret
1093:Metro
901:Milan
796:epoch
791:Skime
460:Milan
311:Kodak
304:Leica
233:beret
3602:Cuba
3522:Foco
3487:Icon
3440:Che!
2996:ISBN
2926:ISBN
2658:"".
2234:Time
1813:2019
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