The “Chavalxs” project, spearheaded by artist Alejandra Aragón from Ciudad Juárez, Mexico teaches photography to 25 youths in areas like Gómez Farías and Guadalupe. The project offers an authentic view of life across the border, away from racism and xenophobia. These workshops have enabled participants to address and reshape misconceptions about their communities, heavily stigmatized by drug-related violence and a lack of artistic opportunities. By collaborating in places such as San Agustin, Chihuahua, Chavalxs fosters a creative resistance against harmful narratives. We interviewed Alejandra Aragón, Grantee of the Center for Cultural Power’s Border Narratives Project, about this important project.

How do the photographs produced by the project tell a different story about life in border towns compared to the narratives perpetuated by mainstream media?
“Chavalxs deals with the process of how narratives become. Historically, the border has been narrated in a hegemonic voice and sight. I, as a border artist only until recently feel my voice has been heard, although as Spivak points out, I am never sure if my message is
being understood since there are codes regarding language, identity and situated experience that still separates us from those who have had the power to construct history through art and media. So, the same way I received the grant to decentralize the narrative, I went directly to the communities and got them involved in order for me to not be a single voice, but rather a detonator of a wider conversation using art, specifically photography as the medium.

“Violence is a reality that over the years has been the main subject of interest about the border. My intention with this project and my body of work is to question how the narratives become part of the cycle of violence when we think we are giving “visibility” when our work ends up feeding the same system that perpetuates the violence, like it happened in the circulation of images of victims and misery. I have come to understand that the main tool of structural violence carried out not only at this border but in other disputed territories is breaking communities, and images are an active part of that. So, my intention with Chavalxs is not only to tell this story from our own subjectivity. But also confront the conditions that perpetuate violence. So, while we reflect on who we are and the situations of the
place we live in, and how we represent that using photography, we make community and confront the issue that made us vulnerable. We make community and strengthen collective memory.

“This same logic is applied to every image you see of Chavalxs produced by the kids, me or the contributors’ approaches within the classroom, the exhibitions, the curatorship, and the archive. We can make a semiotic analysis of each, but no image reproduces violence, no image is taken without permission, no landscape is stigmatized, and as I decided with the polaroids I gave away to the young people who I knew I could not reach through the workshops, or the efforts we made to bring every kid from the towns to the Juarez major exhibition: because most people photographed in the world never get to hold or see the images that are produced and reproduced of them.”

Beyond photography, what other skills have participants gained from their involvement in the Chavalxs” project?
“A very important fact about Chavalxs is that I am in a way part of the community. These are not random places I just arrived at. Valle de Juárez is the rural area of Ciudad Juarez, my hometown. Gomez Farias is my family’s original town municipality and I wanted to return to the community after doing a project about my father, masculinity and displacements of agricultural towns.

“First, photography is a craft that can help create some sort of income. Some of these young people have gotten jobs doing social photography or other publicity requests and part of this were Daniel Galindo and Professor Villareal who are themselves portrait photographers and shared with the class their strategies to make a living out of this practice.

“I networked and united forces with the people in the community who were already taking action to create third spaces, secure resources, and the wellbeing of their community, like Leon de La Rosa, Joseline Galdean and Alejandro Gonzalez who are collaborators in the project, so Chavalxs only became a part of these efforts.

“I am very proud to say that many of the kids involved got tools to manage their emotions and their psychological state since many young people are dealing with strong PTSD, many have experienced and seen very violent acts committed against their family members or community. So we spoke about our emotions, we tried to use photography to convey them and for some, like Cristian Jasiel Garcia Archuleta, photography became a tool to go out of the house, walk, understand he had a special perspective and talent. The workshop also helped insert him into a community since he lacked a support group.

“For one of the older participants, I am very proud to say the impact was more political. Alejandro Mono Gonzalez, who was part of the workshop in San Agustin, decided to create a community space for young people after experiencing the Chavalxs workshop. So now he, with the help of some youngsters like Jasiel himself, Ivone, Azul, Carolina and Joseline from Chavalxs and other community members have created OKUVAJ. They occupied an abandoned building and fundraised resources to sustain the space.”

How has the work produced by the “Chavalxs” project been received by the public, both within the border towns and in wider circles?
“The Chavalxs exhibitions have been received with great enthusiasm. In Guadalupe, we had the exhibition at the town’s park plaza and after seeing it, the mayor invited us to show it at the Municipality building. This created the space for us to use his interest to make some demands to the local government regarding the needs of the young population.

“Overall, the participants, the collaborators and everyone involved seem very happy with the results. And for me, I cannot explain clearly what it did for my self-esteem and mental state after coming from a major depressive episode after the pandemic and helped me learn even more about how to direct my practice towards more interdisciplinary strategies and forms. And even though it’s not perfect and there is a lot that can be improved as an art or social development project, I hope that everybody involved feels the positive impact in the long term.”

Learn more about the process and reactions in the video documentary of the project.

Discover More

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The date was Jan. 29, 2009, and Pat Quinn was sitting at his desk in the lieutenant governor’s office, writing notes for what would become his inaugural speech as governor while the state Senate, one floor above, considered voting to remove Rod Blagojevich from office.

A few feet away, camera in hand, was Springfield resident Lee Milner, capturing the scene from a pivotal moment in Illinois history.

That day’s Chicago Sun-Times sat on Quinn’s desk. The top headline, “His Last Stand,” referred to the ultimately futile speech Blagojevich would give in the state Senate chamber in Springfield before senators voted 59-0 to oust the disgraced Democratic governor as the final step of impeachment.

For Milner, who at 64 was volunteering his time as Quinn’s photographer and later would send the photographs to the Illinois State Archives, recording history was just his latest efforts at “making a difference.”

Throughout his life, he would do just that by harnessing his work ethic, kind personality, self-deprecating humor and wide-ranging experience as a communicator and volunteer for state government, civic groups and nonprofits.

Now 78 and in declining health, Milner, who was diagnosed with pancreatic cancer in December 2019, is reflective.

“I’m very fortunate in all kinds of respects,” he said. “I’m fortunate in what I’ve been able to do, who I’ve been able to meet, who I’ve been able to help, friends I’ve met along the way.”

Referring to lyrics from a Garth Brooks song, Milner said with a chuckle, “I’ve got friends in high places, not low places.”

He added: “Most of the people I’ve been around, I’ve been around leaders, being involved in the issues of the day, watching some very bright people perform. People like me help them stay ‘on message’ and get things across to the people.”

Readers of Illinois Times often have seen Milner’s work as a freelance photojournalist. But they may not realize they are viewing the work of someone known and respected by people in public life throughout Springfield and beyond for years.

“Lee is a man for all seasons,” Quinn, 75, said in a phone interview from Chicago. “He’s not a show horse or someone with braggadocio. He’s a down-to-earth, caring person. … I really, really, really enjoyed working with him. He’s a lot of fun.

“I think it’s a testament to his faith and stamina and just his good nature that he’s been able to battle this disease for as long as he has, and everybody’s rooting for him.”

Milner was born in Breese, the third of five children born to a Methodist minister father and homemaker mother. He graduated from high school in Beecher City in Effingham County and earned a bachelor’s degree in communications from Southern Illinois University Carbondale. He worked as a photojournalist for the Effingham Daily News, where he met many state lawmakers, before being drafted into the U.S. Army in 1968.

Milner never went overseas where the Vietnam War was raging. He served his two-year hitch as a clerk and photojournalist at Army bases in North Carolina and South Carolina. After discharge, he attended the now-closed MacMurray College in Jacksonville, where one of his brothers was a professor. After a semester, he got a job at Memorial Health in Springfield as a photographer for a pathologist, Dr. Grant Johnson, at the recently opened Southern Illinois University School of Medicine.

After several years of taking photos of surgeries, autopsies and Sangamon County coroner’s death investigations, Milner moved to Washington, D.C. He began working as a legislative coordinator for former U.S. House member George Shipley, a Democrat from Olney, whom Milner met while working in Effingham.

After a year, Milner returned to Springfield to marry Cindy Young, his wife of 49 years and now a state retiree, whom he met while working for Memorial. They would have two children, James, 39, a filmmaker, and Leanne Sappington, 42, an events coordinator. Milner’s children, and his 11-year-old grandson, Leanne’s son, all live in the Los Angeles area.

After Milner came back to Springfield from Washington, a legislator friend of his asked then-state Rep. Bill Redmond, a DuPage County Democrat who had recently been elected speaker of the Illinois House and was building out his staff, to consider hiring Milner.

Milner became Redmond’s assistant press secretary and worked for Redmond from 1975 to 1979.

“I loved it,” Milner said. “It was where the action was. There were some very intelligent, articulate people that went through the House of Representatives and went farther, as a lot of them did. So it was just exciting to be in a position like that and to think you were helping the community by helping people who were trying to do their best. I think that’s a place where you can do some real good.”

The legislature was a less-partisan place then, he said. It was before the passage of the 1980 Cutback Amendment, backed by Quinn, which reduced the size of the House by one-third. The constitutional amendment also eliminated three-member districts and cumulative, or “bullet” voting, which often resulted in at least one member of a different party representing a district.

While working for Redmond, Milner witnessed a rapt audience when former Chicago Mayor Richard J. Daley addressed the General Assembly.

A visit to the legislature by then-President Jimmy Carter also was memorable.

“I can’t get past his smile,” Milner said with a laugh. “He always had the best smile. He was very cordial to everybody, as I recall.”

Redmond encouraged Milner to apply to lead the communications office at the Illinois State Board of Education – “not because he wanted to get rid of me, but because he thought it would be a good opportunity,” Milner said.

The education agency had been reorganized when the state superintendent of schools position became a gubernatorial appointment rather than a statewide elected position.

Milner was hired in 1979 and would work there until his retirement in 2004, serving more than a half-dozen superintendents, including Joseph Cronin, Joseph Spagnolo, Glenn “Max” McGee and Ted Sanders, the father of current State Superintendent Tony Sanders.

Answering questions from reporters could be stressful, especially when the topics involved could make the state board look bad, but Milner said his work with reporters rarely created tension with state superintendents and his other bosses.

“In most cases, we got along just fine and decided how to approach issues,” he said. “I knew what the reporters were interested in.”

Milner worked for the agency at a time when spokespersons in state government frequently spoke to reporters for attribution, instead of the current practice of frequently resorting to written statements, emails and text messages. Milner said he tried to cultivate professional relationships with the media to promote trust.

“I don’t know if I’m cut out for it or not, but it worked out well,” Milner said. “I like reporters, and I respect what they do. And the most important thing to think about is what reporters can make out of what you do – the good and the bad.”

WBEZ reporter Dave McKinney, a longtime Statehouse reporter for the Sun-Times, said Milner “showed utmost professionalism” at the State Board of Education. “His word was gold. He was accessible, and there was never any skepticism on my part that I wasn’t being told the truth.”

Milner’s activities since retirement from the state included volunteer work with Network Knowledge, SIU Illinois State Employees Credit Union and the FBI Springfield Citizens Academy Alumni Association, which named its award of excellence after him.

His freelancing included photos for an Illinois news organization at the 2008 Democratic National Convention in Denver when then-U.S. Sen. Barack Obama of Chicago was nominated for what would become his first term as president.

Milner said he volunteered his services for Quinn because the newly sworn-in governor, who ended up serving for six years, didn’t have a downstate photographer, and Milner was acquainted with members of Quinn’s staff.

“To be frank, I don’t think they cared if they had pictures,” Milner said, adding that Quinn “was not like a Blagojevich running out there to get his picture taken. His ideas are what he wanted out. I told them, ‘If you are in central or southern Illinois, let me know and I’ll do what I can.’”

Quinn said he liked having Milner around.

“He has a divine gift – his ability to not just take photos but take evocative photos, pictures that really bring out the people at the event and how they look and feel,” Quinn said.

“Lee is very discreet,” Quinn said. “He’s not a loud person. He’s very modest and polite and courteous – all the things you teach your kids to be. He embodies that. We’re lucky that God sent him our way.”

When asked how he would like to be remembered, Milner paused for about 30 seconds, then said: “I certainly would like to be remembered as a good father with successful kids, a good husband, and I suppose a loyal worker, and mostly as a helper.”

By SALINA POST

The Salina Photography Club is honored to announce that photojournalist Travis Heying will be the guest speaker for their April meeting. The event will take place on April 16th at 6:30 PM at the Salina Public Library in the Prescott Room.

Heying brings a wealth of experience. With a distinguished career that has taken him from the local beats of Wichita to internationally-significant events in the Middle East, Heying has consistently demonstrated his prowess behind the lens. A staff photographer for the Wichita Eagle since 1997, he has meticulously captured stories that range from heartwrenching disasters to high-stakes sporting events, garnering respect and adulation for his ability to weave compelling narratives through his images.

“You get just whatever they put as the caption or on the photo, but you don’t maybe get to hear the true story behind the photo,” said Tanner Colvin, a member of the Salina Photography Club. “Like in his [Heying] case, it might just be the cutline that he wrote for whoever he was shooting for, versus the actual story about how he made the photo.”

The University of Nebraska alumnus will share insights into the evolution of his career as a photojournalist and discuss how his personal vision was honed by influences that often spring from a diverse spectrum of genres outside photography. Attendees will be treated to tales from his time working with a news agency in the Middle East and will be thrilled to hear about his documentary projects, such as the return of Father Kapaun and the bold coverage of the raid on the Marion County newspaper.

The Salina Photography Club was a feature of the community for years before 2020, but it recently began activities again after Colvin and another local photographer, Chris Slubowski, began organizing meetings at the Salina Public Library.

Colvin said a leading reason to reboot the Salina Photography Club was to connect photographers in the region and foster creative conversations about the art medium.

“We’re just trying to get photographers connected with other photographers,” Colvin said. “That’s the whole purpose of it, is just connect other creatives with creatives.”

Travis Heying’s passion for storytelling is evident in each of his photographs, and his expertise is certain to inspire photographers and visual storytellers – both amateur and professional. The Photography Club encourages anyone with an interest in photography or storytelling to attend this unique event. The event is free and open to the public. Seating is limited, so early arrival is highly recommended.

For more information about Travis Heying and his body of work, please visit www.travisheying.com

Event Details:
● Event: Salina Photography Club’s April Meeting with Travis Heying
● Date: Tuesday, April 16, 2024
● Time: 6:30 p.m.
● Location: Prescott Room, Salina Public Library, Salina, Kan.

READ MORE: Saline County residents enter race for county attorney

ST. JOSEPH (WJON News) — A new photography exhibit is set to open Thursday in St. Joseph. “The Earth is Full of God’s Riches” grand opening will take place at the Art and Heritage Place’s Haehn Museum from 5:00 to 7:00 p.m.

The exhibit will display nature photos of four sisters from the Order of Saint Benedict: Carleen Schomer, Karen Streveler, Linda Dusek, and Nancy Bauer. The pictures have everything from flowers, to animals, to trees, and more.

Sister Judy Kramer says they wanted to have an exhibit to feature a positive reaction to climate change and the wasting of the earth and its resources. The exhibit is free and will be open Noon until 4:00 p.m. Tuesdays through Saturdays.

READ MORE FROM AUTHOR PAUL HABSTRITT:

“In Great-Grandpa’s Hands” by Yvonne C. Krystovsky. First Place Winner.
“The photograph shows the hands of a great-grandfather holding those of his great-grandchild in a moment of tender connection. The wrinkles and scars on the old man’s skin tell of a lifetime of experiences, while the child’s soft fingers reflect the innocence and curiosity of youth. Photographed in black and white, the details emphasize the emotional depth of the moment and the contrast between old and young. Every line, texture, and nuance reinforces the significance of this intergenerational love. This photograph is a touching testament to the beauty and depth of the connection between generations.”

A touching photo of two generations holding hands has won Black & White Magazine‘s 2024 Black and White Minimalist Photography Prize. Yvonne Krystovsky‘s photograph of a great-grandfather holding his great-grandchild’s hands is a study in contrasts. The smooth skin of the child against the wrinkles of the elderly man makes us reflect on the passage of time and the power of intergenerational love.

Krystovsky’s photograph was judged against the 1,300 submissions to the annual competition and was one of three that placed in the contest. Daniel Zaleski was named runner-up for his look at a contemporary concrete staircase in a former slaughterhouse. His image emphasizes the sharp lines of the structure and plays with soft shadows for an aesthetically pleasing composition.

In third place, Alexandre Caetano‘s photograph of a desolate road in Spain leads the viewer’s eyes into the distance. He creates a striking image by playing with a stark contrast between the nearly black road and the hazy sky.

Alongside the winners, the judges have also awarded honorable mentions to a talented group of photographers who impressed with their ability to create minimalist masterpieces. Scroll down to see the winners and a selection of our favorite finalists.

Black & White Magazine has announced the winners of the Black and White Minimalist Photography Prize.

“Minimalist Concrete Staircase” by Daniel Zaleski. Second Place Winner.
“Newly designed and constructed concrete staircase in an old refurbished building (former slaughter house). I was immediately enthralled by the light, tones and simple lines.”

“On top of Serra da Capelada” by Alexandre Caetano. Third Place Winner.
“I am traveling through Costa da Morte, Galicia, 600m above sea level, where the mountains separate the Cantabria Sea from the Atlantic Ocean.”

“Presence” by Soma Szebelledi. Honorable Mention.
“The figure of a woman breaks the strict shapes of the composition and becomes the dominant presence in contrast to the immense mosque wall. Her presence there felt visually and metaphorically rebellious. The scene interchanges different zones of exposure and textures in a geometrical way while she is blissfully out of place.”

“Decisive Steps” by Rohit Rattan. Honorable Mention.
“The particular image was shot in the dunes of the Liwa Desert in the southernmost settlements of Abu Dhabi, which is an escape into the empty quarter stretching for almost 100 km of pure sand oasis. The image provokes thought for one to be durable against the adversaries of life and walk with decisive steps in the unknown oasis of life.”

“Baby Baboon Silhouette” by Turgay Uzer. Honorable Mention.
“There is a stand of baobab trees in Zambia’s Luangwa National Park where the sunset acts as backlighting. This image was taken at that time, using the last rays of the sun, which were illuminating a family of baboons.”

1,300 images were entered into this year’s contest.

“Making Tracks” by Roy Curtis. Honorable Mention.
“A roe dear crossing an alien landscape of plastic agricultural fleece, leaving faint tracks as it goes.”

“Quiet Time” by Andrew Whettam. Honorable Mention.
“Shingle Street in Suffolk, England.”

“Natural Light and Nude” by Jacinta Tomyn. Honorable Mention.
“‘Self-Portrait, Natural Light and Nude’ was captured in my home studio in Adelaide, South Australia, 2023, with myself both as photographer and muse. Using natural light only, I strived to subtly illuminate and present the nude with simplicity and elegance.”

“The Tree in the Winter Field” by Tomas Tison. Honorable Mention.
“My attention was captured by the solitary tree standing as a sentinel in this snowy scene. Its silhouette creates a strong contrast against the white background. I was also fascinated by the cloud structure above the tree, forming an almost poetic arc around it, as if nature itself wanted to emphasize its uniqueness.”

“Trilogy” by Gabrielle van den Elshout. Honorable Mention.
“Office building in Amsterdam.”

The judges named three winners and also recognized a group of talented finalists.

“Rotunda” by Claudia Arevalo. Honorable Mention.
“Thomas Jefferson designed this building to represent the ‘authority of nature and power of reason’.”

“Windows” by Manfred Gruber. Honorable Mention.
“Austria/Vienna.”

“Dried Wood” by Marleen Van Hove. Honorable Mention.
“A non-conventional view of the dried trees in Deadvlei, Namibia.”

“Dilemma” by Hadi Dehghanpour. Honorable Mention.
“The photo shows the footprints of two off-road vehicles in the desert. In the middle of this crossroads, a person stands and does not know which way to go.”

“Bridge Walker” by Klaus Lenzen. Honorable Mention.
“A pedestrian on a bridge over the Rhine in Dusseldorf (Germany). Captured below the bridge access.”

“On Light and Shadows” by Go Kochiya. Honorable Mention.
“In the plaza of a certain facility, several huge pillars were creating shadows. One of them was in a state of sharp V-shaped refraction due to a series of shadows, creating a flat composition of light and shadow. In order to make this composition appear three-dimensional, I photographed a man walking in a position that had both light and shadow in the landscape.”

“Island of Youth” by Dennis Schulz. Honorable Mention.
“The Insel der Jugend is a real beauty in Berlin. Especially in the colder seasons, it shows itself in different facets and is always worth a visit. Fortunately, I had the opportunity to take this photo on a thick foggy day.”

B&W Minimalism Magazine: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by B&W Minimalism Magazine.

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It is safe to take a picture of the eclipse if it is protected. We recommend using a solar filter to prevent the intense sunlight from damaging your camera. Depending on the type of camera, these can either be attached to a lens or replace a lens entirely. The American Astronomical Society (AAS) has stressed the need to ensure that the filter is securely on to keep it from unexpectedly falling off during the event and potentially damaging your camera or eyesight.

The lens can be removed during the total eclipse to obtain an unobstructed image of the spectacle. But, like with solar glasses, it must be put back on as soon as the sun peaks around the moon to prevent damage. 

A solar filter isn’t just photographers being overly cautious. After the eclipse of 2017, Lensrentals documented firsthand the damaging effects of not using a solar filter. It can result in lens iris damage, mirror damage, and melted sensors on cameras. These repairs can be costly, especially if you use a high-dollar DSLR or mirrorless camera, so it’s better to be safe than sorry.