Maria Varela, a pivotal figure in the documentation of African American and Chicano community empowerment, is set to share her insights at California State University, Northridge. Varela, a former member of the Student Nonviolent Coordinating Committee (SNCC) and a renowned photographer, will discuss her journey and the impact of her work on March 26, at the ‘Time to Get Ready: Fotografía Social with Maria Varela’ event.

Path to Photographic Pioneering

In the 1960s, Varela recognized a glaring absence in the portrayal of Black individuals leading their communities through social change in the South. This realization propelled her to pick up a camera and document these moments herself, becoming the only woman and Chicana in SNCC’s photographic staff. Her work did not just capture images but also became a powerful tool for African Americans and Chicanos to see and believe in their leadership and capacity for change. Varela’s photography, deeply intertwined with her community organizing efforts, offered a new perspective on the civil rights movement, the Chicano movement, and beyond.

Award-Winning Legacy and Impact

Over fifty years, Varela has not only captured pivotal moments in history but also worked tirelessly as a community organizer in New Mexico and the Southwest. Her efforts to establish culturally sustainable economic enterprises have earned her a MacArthur Fellowship and a nomination for the Nobel Peace Prize among 1,000 women in 2005. Her photographs, displayed in numerous books and exhibitions, continue to educate and inspire future generations on the importance of civic engagement and collective leadership.

Continuing the Conversation

The event at CSUN, sponsored by the University Library and various academic departments, aims to celebrate Varela’s achievements and her role in documenting social movements. Attendees will gain an in-depth understanding of how Varela’s work with the SNCC and her exploration of uncharted territories in photography have contributed to a broader understanding of community-led change. This gathering is not only a testament to Varela’s enduring influence but also an opportunity for today’s activists to learn from her experiences.

Maria Varela’s upcoming talk at CSUN is more than a recount of historical events; it’s a beacon for current and future leaders in social justice movements. Her legacy, encapsulated through her lens, continues to inspire a new generation to recognize the power of community and the transformative potential of visual storytelling.

MINOT, N.D. (KMOT) – A North Dakota photographer has captured the quiet and less busy parts of the state in his collection called “Driving through Flyover Country.”

Lewis Ableidinger works full-time with a railroad company, but he said he’s probably going to be a photographer in his home state for the rest of his life.

He said he took the photos for this collection over the course of four years during his vacations.

He said he plotted his destinations very loosely and took off his wristwatch.

“It was a very conscious decision to make sure that I wasn’t rushing anything. It was just go and make the most out of my time and not feel committed,” said Ableidinger.

He said because of this, he met people and saw things he otherwise would’ve missed.

The next project he’s working on features the life of bees and their keepers.

You can find Ableidinger’s work through his website.

Copyright 2024 KFYR. All rights reserved.

Image of community organizer, writer and photographer Maria Varela.

Community organizer, writer and photographer Maria Varela will talk about her work documenting the efforts of African Americans in the South and Chicanos in the Southwest to take charge of their own communities and bring about social change during an event on Tuesday, March 26, in the University Library at California State University, Northridge. 

“Time to Get Read: Fotografía Social with Maria Varela” is scheduled to take place from 12:30 p.m. to 2 p.m. in the Ferman Presentation Room of the University Library. 

Varela was a staff member of the Student Nonviolent Coordinating Committee, from 1963-1967 working primarily in Alabama and Mississippi. The lack of images of Black people taking leadership to change their communities forced her to learn photography to document people’s leadership while in the South.  

“Maria Varela became a photographer out of necessity,” said journalism professor José Luis Benavides, director of CSUN’s Tom & Ethel Bradley Center, which collects, preserves and disseminates the visual history of the region with an emphasis on ethnic minority communities and photographers.  “She couldn’t find images that mirrored the life experiences of African Americans in the Deep South, so she was forced to create these images herself.  In that process, she discovered what photographer Matt Herron called ‘photography wider lineage’”. 

Varela became the only woman and the only Chicana among a SNCC photographic staff exclusively formed by men. The March 26 event will celebrate her accomplishments and openness to explore uncharted territory, said Benavides, who noted that Varela was also involved in the documentation of the 1968 Poor People’s Campaign, the first Chicano Youth Conference and the 1960s and 1970s Chicano movement, as well as the lifestyles of Nuevo Mexicano villages.    

“Maria Varela’s photographic work cannot be dissociated from her work as a community organizer both in the South and the Southwest,” he said. “Her photography is rooted in community knowledge and empowerment. It is meant to create images that affirm people’s rights to civic engagement and the creation of new forms of collective leadership.” 

For more than 50 years, Varela organized rural communities in New Mexico and the Southwest to create culturally sustainable economic enterprises to help reduce poverty and loss of ancestral lands and waters. In 1990, she was awarded a MacArthur Fellowship for this work. In 2005 she was among the 1,000 women nominated for the Nobel Peace Prize. 

 For the last five decades, her photographs have been included in dozens of books and photo exhibitions across the country. Varela serves on the Board of Directors of the SNCC Legacy Project, which documents the work of the Student Nonviolent Coordinating Committee in the 1960s and mentors today’s young activists. 

The March 26 event is sponsored by CSUN’s University Library, Distinguished Visiting Speakers Program, The College of Humanities, the Departments of Journalism and Chicana/o Studies, as well as the Tom and Ethel Bradley Center. To reserve your spot for the event, RSVP here.  

Related

By Danielle Ferguson, a Michigan appellate judge expressed reservations on Wednesday about aligning the act of taking photographs with eavesdropping under an old statute, amid a legal battle between union leaders over a picture taken during a deposition. This case, emerging from a longstanding rivalry between two unions, highlights the complexities of interpreting eavesdropping laws in the context of modern disputes. The judge’s skepticism underscores the evolving nature of privacy and surveillance laws, as technologies and their applications in daily life advance.

Background of the Dispute

The incident at the heart of this legal controversy involves a union leader who accused a counterpart from a rival union of unlawfully taking his photograph during a deposition, aiming to leverage a decades-old eavesdropping statute. The case, which has garnered attention due to its implications for privacy, surveillance, and labor relations, reflects the broader challenges courts face when applying longstanding statutes to contemporary scenarios. The involved parties, rooted in a deep-seated rivalry, find themselves at a crossroads, seeking judicial clarification on actions considered permissible under existing laws.

Legal and Technological Interpretations

The crux of the matter lies in whether the act of photographing someone without their consent during a legal proceeding can be equated with eavesdropping, traditionally understood as secretly listening to or recording someone’s conversation without their permission. The judge’s hesitancy to extend the definition of eavesdropping to include photography without consent highlights the legal system’s struggle to keep pace with technological advancements. This case, therefore, not only deals with the specific dispute between union leaders but also sets a broader precedent for how privacy rights are interpreted and protected in the digital age.

Implications for Privacy and Surveillance Laws

The outcome of this case could have significant implications for how eavesdropping statutes are applied to similar cases in the future, potentially affecting a wide range of scenarios involving surveillance and privacy. As the judge deliberates on this matter, the legal community and privacy advocates are closely watching, recognizing the potential for a landmark decision that could redefine the boundaries of lawful surveillance and personal privacy. This case underscores the pressing need for legal frameworks to adapt to the realities of modern technology, ensuring that individuals’ rights are safeguarded in an increasingly digital world.

The Michigan appellate judge’s skepticism in equating photography with eavesdropping in the context of a union dispute not only sheds light on the specific legal battle but also ignites a broader dialogue on privacy, surveillance, and the interpretation of laws in the age of technological innovation. As the legal system grapples with these evolving challenges, the outcome of this case may serve as a pivotal reference point for future disputes, emphasizing the importance of continually reassessing and updating legal definitions to reflect the complexities of the modern world.

DULUTH, Minn. (Northern News Now) – After a Hibbing business announced it would be laying off all 91 of its employees, an Iron Range photographer is lending a hand to the families impacted.

Northern Foundry, a business that makes small iron castings, is expected to close by the end of April.

Related: Hibbing’s Northern Foundry to close, lay off 91 workers

When Emily Law, owner of Flom Design and Photography in Hibbing, heard the news she was devastated and wanted to do anything she could to assist the families involved.

She is now offering free senior photo sessions to any 2025 graduate whose parent was laid off.

Law says she understands the financial hardship layoffs bring.

She adds she didn’t want any seniors to miss out on an important moment in their lives.

”Photography is a gift that we love to do. Why not offer that? It’s all about giving back to our community,” said Law.

Law still has more slots open on her calendar this Spring and Summer for graduates.

Her website can be found here.

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Copyright 2024 Northern News Now. All rights reserved.

A new exhibit is now open for viewing on the campus of Emporia State University giving residents a great snapshot of Emporia’s history through the eyes of one of its native sons.

“The Big Picture: Connecting with the Walter M. Anderson Collection” exhibit opened to the public inside the ESU Special Collection and Archives Department Wednesday afternoon. The exhibit features approximately 12,000 photographs and 20,000 negatives all shot by Andersen, a native Emporian and well-known photographer whose collection has been recognized as a “valuable source for historical research.”

Director of Special Collections and Archives Rebekah Curry tells KVOE News the collection is unique in comparison to other exhibits as while it focuses on Andersen it also “jumps off into other collections.”

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Andersen’s passion for photography began after he was drafted into the US Army during World War II. While stationed at Fort Richardson, Alaska, Andersen met professional photographer Malcolm Graney who provided instruction and helped Andersen set up his darkroom on the base.

Following his time in the Army, Andersen and his wife Viola Gertrude Towle settled back in his hometown of Emporia where he worked as a train inspector while continuing to pursue photography on the side. He began to dedicate more time to his photography following his retirement in 1972 becoming a well-known and recognized photographer within the community.

For his work, Andersen was twice recognized as the Emporia Gazette’s Man of the Week in 1976 and 1991 and received a historic preservation award from Emporia Main Street in 1998. Curry says the exhibit will be available for viewing from now through August.

Bringing together a vibrant array of perspectives on urban life, the Street Life exhibition is a celebration of one of photography’s most consistently popular genres. Featuring the work of 18 photographers at various stages in their careers, including award-winning and emerging artists, the exhibition is a testament to the dynamic storytelling power of photography. Curated by Framelines magazine, known for its dedication to street and documentary photography since 2020, the exhibition showcases talents from Brooklyn, Colorado, Mexico City, and beyond.

A Glimpse into the Artists’ Worlds

Among the featured photographers is Lisa Barlow, whose narrative storytelling is influenced by her studies under Larry Fink at Yale. Barlow’s career spans documentary work for public television and teaching in NYC private schools. Her upcoming publication, Waterbury, 1981, promises to offer a glimpse into her early work upon leaving college. Similarly, Mario Carnicelli, an award-winning Italian photographer, offers viewers a unique lens through which to view the American experience, influenced by New Wave cinema and recognized with awards like the Prix Viviane Esders. Brooklyn’s own Billy Dinh, with his dramatic, cinematic style, and Josh Edgoose, a London-based photographer drawn to color and coincidence, are among the other notable names bringing their unique visions to the exhibition.

Exploring Urban Narratives

Each photographer presents a distinct approach to capturing urban life, from Harold Feinstein’s intimate portraits of New York City to Marc Riboud’s powerful compositions earned during his travels to China and North Vietnam. John Simmons, renowned for his multifaceted artistic talents and Shane Taylor’s exploration of everyday city life through an empathetic lens, further enrich the exhibition’s narrative. The inclusion of works from photographers like Andre D. Wagner, who captures the poetic nuances of daily life in Bushwick, and Michelle Groskopf, known for her editorial and commercial photography, underscores the exhibition’s diversity and depth.

The Essence of Street Photography

From the streets of Brooklyn to the alleyways of Tokyo, Street Life offers a compelling journey through the heart of urban landscapes. This exhibition not only invites viewers to see the world through the eyes of its photographers but also highlights the beauty and complexity hidden within the bustling streets of our cities. By bringing together such a diverse group of photographers, Street Life celebrates the essence of belonging and the concept of ‘home’ that lies at the heart of urban photography.

As cities continue to evolve, the relationship between urban development and photography becomes ever more significant. Exhibitions like Street Life not only provide a platform for artists to share their visions but also offer insights into the symbiotic relationship that photography and cities share. This exhibition, through its diverse array of lenses, invites us to reflect on the ever-changing landscapes of our urban environments and the stories they hold.