Molotov Man
A 1979 photograph by Susan Meiselas depicting a Nicaraguan revolutionary preparing to throw a Molotov cocktail during the final phase of the Somoza regime.
Last updated August 26, 2026
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Overview
Molotov Man is a documentary photograph made by American photojournalist Susan Meiselas in Nicaragua on July 16, 1979, during the final days of the Nicaraguan Revolution. The image shows a male combatant standing in profile, holding a rifle in his left hand and a Molotov cocktail made from a Pepsi bottle in his right. He is poised to throw the improvised incendiary device toward a Somoza National Guard garrison. Meiselas later identified the man as Pablo “Bareta” Arauz. The photograph was created in a decisive historical setting. Nicaragua had been ruled by the Somoza family for decades, while the left-wing Sandinista National Liberation Front, commonly known as the FSLN or Sandinistas, had fought the regime since the 1960s. The picture was taken on the eve of Anastasio Somoza Debayle’s flight from the country. The Sandinistas would soon enter power, and the photograph became one of the most recognizable visual symbols associated with the revolutionary victory and the collapse of Somoza’s rule. Meiselas first published the image in her photographic book Nicaragua, June 1978–July 1979. It was subsequently reproduced in political propaganda, exhibitions, art projects, online collections, and other forms of visual culture. Its meaning varied according to context: within Nicaragua it could represent revolutionary action and resistance to dictatorship, while in later international circulation the image was sometimes detached from its specific historical circumstances and treated as a generalized picture of riot or rebellion. Meiselas strongly objected to that decontextualization, arguing that the photograph documented a particular act directed against a remaining National Guard position rather than an undifferentiated street disturbance. The image became the center of a prominent debate about appropriation, copyright, artistic transformation, and the ethics of removing documentary photographs from their original contexts. In 2003, artist Joy Garnett used an Internet-sourced reproduction of the photograph as the basis for a painting titled Molotov. The painting appeared in Garnett’s 2004 exhibition Riot, a series based on mass-media images of people in extreme emotional or political states. After the exhibition closed, Meiselas’s lawyer sent Garnett a cease-and-desist letter asserting copyright infringement and requesting removal of the image from Garnett’s website, a retroactive license, and attribution on future reproductions. Garnett removed the image from her website, and Meiselas did not pursue the matter in court. The dispute nevertheless expanded online. Artists and new-media participants organized Joywar, a solidarity campaign that mirrored Garnett’s webpage, reposted the image, and encouraged further artistic appropriations. The campaign spread through blogs, forums, and translated discussions in several languages, producing a large body of derivative works and commentary about fair use and the control of cultural images. The episode made Molotov Man an important case study in the relationship between documentary photography, digital circulation, appropriation art, and copyright. Meiselas and Garnett later discussed the dispute publicly at the 2006 COMEDIES OF FAIR U$E symposium at the New York Institute for the Humanities. An edited account of their exchange was published in Harper’s in 2007. Meiselas emphasized the photographer’s responsibility to preserve historical and cultural context, including recognition of the photographed individual. Garnett focused on the right of artists to transform circulating images and question mass-media culture. The disagreement was never adjudicated by a court, leaving the image’s legal and ethical questions unresolved. Today, Molotov Man is best understood not as a commercial brand but as an influential historical photograph and a widely reproduced visual emblem whose significance lies in both its revolutionary context and its later role in debates over image ownership and reuse.
History
Susan Meiselas photographed Molotov Man in Nicaragua on July 16, 1979, during the final stage of the Sandinista revolution against the Somoza dictatorship. The photograph captures a combatant holding a rifle and preparing to throw a Molotov cocktail toward a Somoza National Guard garrison. Meiselas later identified the subject as Pablo “Bareta” Arauz. The picture was made shortly before Anastasio Somoza Debayle left Nicaragua, an event followed by the Sandinista takeover. The image first appeared in Meiselas’s book Nicaragua, June 1978–July 1979. Through publication, exhibitions, political reproduction, and later online circulation, it became a durable symbol of revolutionary resistance. Meiselas has stressed that the photograph records a specific military and political event, not merely a generic riot. Its later use in pro- and anti-Sandinista materials demonstrated how documentary photographs can acquire competing meanings when they circulate beyond their original setting. Meiselas also exhibited the photograph in Nicaragua in 1999 as part of events marking the revolution’s twentieth anniversary. A second phase of the image’s history began when artist Joy Garnett used an Internet copy of the photograph as the source for a painting titled Molotov. The painting was included in Garnett’s 2004 exhibition Riot, which explored figures drawn from mass-media imagery and represented in states of heightened emotion. After the exhibition, Meiselas’s lawyer sent Garnett a cease-and-desist letter alleging copyright infringement and requesting removal, licensing, and attribution. Garnett removed the image from her website. Meiselas did not file a lawsuit or collect licensing fees, but she continued to object to what she regarded as the stripping away of the subject’s identity and historical circumstances. The disagreement became a broader online action known as Joywar. Supporters copied Garnett’s webpage, created mirror sites, reposted the image, and produced new appropriations to challenge what they considered an attempt to restrict fair use and artistic commentary. The dispute circulated widely through the new-media blogosphere and was discussed in multiple languages. It helped establish Molotov Man as a recurring example in debates over the legal and ethical boundaries of appropriation art. In 2006, Meiselas and Garnett appeared together at the COMEDIES OF FAIR U$E symposium at the New York Institute for the Humanities. Their exchange contrasted two artistic responsibilities: Meiselas defended documentary photography’s obligation to retain cultural and historical specificity, while Garnett defended transformative reuse as a way to interrogate mass-media imagery and contemporary visual culture. An edited transcript was later published in Harper’s in February 2007. Because the dispute never reached a court, it produced no definitive ruling on the photograph’s reuse. Its continuing importance comes from the combination of revolutionary history, documentary practice, individual identity, copyright, and the rapid replication of digital images.
- 2007
Edited symposium transcript published
[1]An edited account of the Meiselas-Garnett discussion appeared in Harper’s, extending the controversy’s influence in debates about appropriation art.
- 2006
Meiselas and Garnett appear at fair-use symposium
[1]The two artists presented their opposing accounts of the dispute at the COMEDIES OF FAIR U$E symposium in New York.
- 2004
Riot exhibition and copyright dispute
[1]Garnett’s Riot exhibition presented Molotov, after which Meiselas’s lawyer issued a cease-and-desist demand. Garnett removed the image from her website, and no court case followed.
- 2004
Joywar begins
[1]Artists and online supporters mirrored and redistributed the disputed image as a protest concerning appropriation, copyright, and fair use.
- 2003
Joy Garnett creates Molotov
[1]Joy Garnett used an online reproduction of Molotov Man as the basis for a painting later included in her Riot series.
- 1999
Exhibition in Nicaragua
[1]Meiselas exhibited the photograph with other images from the collection in Nicaragua during commemorations of the revolution’s twentieth anniversary.
- 1979
Photograph made during the Nicaraguan Revolution
[1]Susan Meiselas photographed a revolutionary combatant, later identified as Pablo “Bareta” Arauz, preparing to throw a Molotov cocktail at a Somoza National Guard garrison on July 16, shortly before Somoza’s departure.
- 1979
First publication in Nicaragua
[1]The image was published in Meiselas’s photographic book Nicaragua, June 1978–July 1979.
Products and positioning
An iconic documentary image associated with the 1979 Nicaraguan Revolution and a landmark example in discussions of photographic context, appropriation, fair use, and digital image circulation.
Controversies
2004
Copyright and appropriation controversy involving Molotov
A cease-and-desist demand from Meiselas’s lawyer challenged Joy Garnett’s use of Molotov Man as the basis for a painting. The dispute raised questions about copyright, transformative use, artistic commentary, and whether removing the subject from its historical context was ethically problematic.
Marketing campaigns
- 2004Joywar
United States · International online communities
Joywar was an artist-led online solidarity campaign supporting Joy Garnett after the copyright dispute over her painting Molotov. Participants mirrored Garnett’s webpage, reposted the source image, and created derivative works to argue for fair use and against perceived censorship of appropriation art.
Outcome. The campaign rapidly multiplied reproductions and commentary, making Molotov Man a prominent case study in digital appropriation and copyright debate.
Brand decisions
2006
Public side-by-side discussion of the disputeOtherBackground
The controversy had become a prominent debate about documentary context, copyright, fair use, and artistic appropriation.
Action taken
Meiselas and Garnett appeared together at the COMEDIES OF FAIR U$E symposium and explained their differing positions.
Aftermath
The discussion was well received and later circulated through an edited published transcript, preserving both artists’ arguments without producing a judicial resolution.
2004
Garnett removes Molotov from her websiteOtherBackground
After Meiselas’s lawyer threatened legal action and requested removal, licensing, and attribution relating to Garnett’s painting based on Molotov Man.
Action taken
Garnett removed the image from her website. Meiselas did not continue with a court action or seek licensing fees.
Aftermath
The matter shifted from a potential legal dispute into the broader Joywar campaign and became a widely discussed example of appropriation-art conflict.
Recent events
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