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In March 1994, as a result of the exhibition The New Generation: Two Decades of Contemporary Cuban Photography from the Island, held at the Richmond Hall in Houston, the critic Susan Kalil published a suggestive review entitled Socialist Surrealism, in which she warned of a substantial transformation in the creative strategies of the latest promotions of Cuban photographers. Burrowed within the hints of an unusually expressive and dreamlike ambiguity, the images clearly evaded the themes and documentary tradition of Cuban photography. Legitimized in the years after the triumph of the rebels in 1959, the iconographic arsenal of this tradition was abundant in glorious scenes, portraits of leaders and popular rallies. The crucial turning point that Kalil perceived then was perhaps the vortex of a symbolic confrontation and the emergence of a mode of autonomy that, from the late 1970s to the present day, has transformed the profile of author photography in Cuba. This mode of ....
Suzanne Killian NIAGARA, Wis. As I age, I find myself intrigued with how our minds work in regard to forming memories. Why is it that I can remember so many events and people from my childhood so vividly, and yet cannot remember a detail from last week? And I now lose my train of thought so easily. If my husband does not let me finish a sentence or tell him something until he is done with his thought, mine has left my brain like Elvis leaving the building and is lost for at least an hour. Neither one of us is ever far from a pen and scratch pad. I leave myself much better written reminders; they are complete thoughts and are detailed enough to be of future use. I cannot tell you how often I find notes in my husband’s handwriting that are simply a phone number, or a date or a time and nothing else. Sometimes it is enough for him to remember the rest, but we certainly cannot depend upon that being the case! ....