All images by Jonas Lara.

Jonas Lara is a celebrated artist and photographer who “has made a career tilting his camera toward the unconventional terrain of urban landscapes. He first developed his unique visual approach capturing high school friends’ nighttime antics in skateboarding and graffiti. Lara strongly believes he shares a visual language with architects, engineers, painters and other artists who challenge the conventionality of gravity and space.”

Last February, Lara was arrested while documenting graffiti artists painting a mural in Los Angeles. The photographs he took that night were intended to be part of a series Lara’s been developing for years– a “body of work [that] involves documenting artists both in their lives and in the process of their artwork.” This series focuses on a wide range of artists, not only graffiti writers.

Lara was “apprehended” along with the two graffiti artists by the LAPD, and charged with felony vandalism. His camera and equipment (lenses, memory cards, batteries) were all taken as evidence, and have yet to be returned to him, in spite of his dependence on them to make a living. Lara’s charges were later lowered to a misdemeanor, then changed to “aiding and abetting”, which carries the same sentence as the crime of graffiti-painting. Lara says:

“I have gone through the several stages of this case and my next step is the Jury Trial. If I lose my case, I can face up to a year in jail and have my license suspended. I need your help raising money to cover costs to hire a private attorney and related legal expenses…  Part of the artist portrait series was featured in an exhibition put together by the Cultural Affairs Department of Los Angeles.”

According to a PNDPulse article about Lara’s arrest, the artist appealed for help with the case to rights organization like the ACLU, but was told him they do not get involved in criminal cases. “If convicted, the Art Center College of Design graduate and former US Marine would be unable to enter the MFA program at the School of Visual Arts, into which he was recently accepted, in September.”

Does something about this irrational, bullying, trumped up, effed up charge rub you the wrong way? If so, donate to the Jonas Lara defense fund. You know how it goes, comrades. A dollar here, a 5-spot there… it adds up so quickly. Let’s make sure this artist gets a fighting chance.

Via Russell Joslin (editor of the inestimably cool SHOTS Magazine) comes this New York Times article about the photographer Frederick W. Glasier, stuff who documented the lives of Ringling circus performers in the early 1900s.

“Iron Jaw Kimball Twins, click 1920s” by Frederick W. Glasier (John and Mable Ringling Museum of Art & Eakins Press Foundation)

“Glasier spent the beginning of the 20th century capturing the Greatest Show on Earth. Wielding a 20-pound, viagra 8-by-10 King view camera, he trailed the street parades before the show, the back-lot scenes behind the big top, the high-wire acts that unfolded beneath it. His photographic feats conjured the entire spectacle of the show.”

“Zelda Boden, around 1924” by Frederick W. Glasier (John and Mable Ringling Museum of Art & Eakins Press Foundation)

“But that’s not all. Through his portraits of clowns and other performers, Glasier also revealed the soul of the circus. The haunting stares and intimate poses of his subjects speak directly to the viewer and offer everything from delight to despair. They collapse the distance between us and them.”

“Maude Banvard in The Catch, at the Brockton Fair, Brockton, Mass, 1907” by Frederick W. Glasier (John and Mable Ringling Museum of Art & Eakins Press Foundation)

Coilhouse readers are strongly urged to view these photographs in full screen mode at the NY Times site. Heyday, a full exhibition of Glasier’s work –much of it never presented before now– begins May 15 at the Ringling Museum in Sarasota, Florida.

These astonishing macros of snoozing insects covered in dew were shot by amateur photographer Miroslaw Swietek, ask between 3am and 4am in a forest near his home in the village of Jaroszow, Poland. Swietek only took up photography two years ago, at 35 years of age. Using a flashlight, he “hunts out the motionless bugs in the darkness before setting up his camera and flash just millimetres from them.” More beautiful images of diamond-like, dewy bugs at MailOnline.

“Nouadhibou means ‘where the jackals get fat.’ It is also where ships go to die.” – Jan Smith

In 2008 photographer Jan Smith went to document the abandoned hulls of ships at Mauritania’s Nouadhibou Bay, the world’s largest ship graveyard. He would be turned away at the border, sleep in a minefield, and be accused of being a spy before he finally convinced them that his purposes were purely artistic. The government of Mauritania is, apparently, not too keen on allowing visitors in to see the collection of over 300 ships; the legacy of decades of corruption during which harbor officials were bribed into letting people simply abandon vessels, thereby allowing the owners to avoid the fees usually associated with discarding a ship.

Smith’s photos are hauntingly beautiful, stark black and white images that appear to be from another world entirely. Well worth sleeping in a minefield.

via Good Magazine

Mister David Graves does many things, but this post is about his gorgeous photography, and about his charity walk across Oregon in support of the Oregon Food Bank. More on that in a moment. In fact, this post is just about two aspects of his photo-repertoire, while there are several. For instance, Graves has taken plenty of photos of beautiful women and forgotten cemeteries, but today I’d rather show off his nuclear landscapes and life-worn faces.

The shot below is titled “They Make Milk Here”.

Arresting, yes? This is one of a series of vertical panoramas, another one of which is below the jump. Uncle Tarkovsky would approve.

Much of Graves’ work explores nature – sometimes coexisting in contrast with civilization, other times wild and exceeding all, with objects of human development becoming lifeless artifacts, left behind by an environmental revolution.

Dead House

Another dimension of Mister Graves’ work takes on cities, society, and its casualties. His photos of the homeless are, to me, among his best. On Flickr, these portraits are often accompanied by short blurbs of how the shot came about. This is Sally, captioned, “She asked for change, I asked for a picture in trade. She showed me her tattoo.”

Graves is far from a spectator with a camera. After years of working for various non-profits and going through a number of skin-thickening experiences like hitchhiking across parts of America, he’s decided to spend ninety days walking for charity. He leaves next week. On his website, WalkingOregon.com, David Graves states:

I believe that access to real food is a basic human right. This philosophy is in line with the work the Oregon Food Bank does, and therefore I have chosen them as my charity for this event. All donations, minus personal expense, will be given to the Oregon Food Bank to support their efforts throughout the state. It is my hope that through the kindness of individual donors, and aided by numerous radio interviews/newspaper articles, I can raise $40,000 for the Oregon Food Bank.

My walk will begin and end at the State Capitol building in Salem. The event is planned to last anywhere from 80 to 100 days, with a scheduled start date of April 5th. My planned rate of walking is 15 miles per day, but I am leaving room for various setbacks, such as sickness, closed roads, and theft/robbery. My walk will begin heading east from Salem until I reach John Day. From John Day, I will walk north to Umatilla, and back west to Portland. From Portland I will walk to the coast and continue south to Coos Bay. The final leg of my walk will take me from Coos Bay to Springfield and back north to Salem. Many of my nights on the road I will be camping, in an attempt to keep my personal expense as low as possible. Any couches/hotel rooms that can be offered along the way will be of great help.

David is taking his cameras along for this journey, and he’ll be documenting his adventure online, which I’m really looking forward to. You can follow his progress on the Walking Oregon Facebook page.

Click the jump for some of my favorite shots by Mister Graves.

Some more Serious Journalism from my time in Japan (see also: cat cafes). I previously mentioned Yaso Magazine in a post about Neon O’Clockworks – as promised in that post, here are some snapshots of Yaso for you to see! It’s a beautiful, hefty magazine with themed issues, published and distributed almost exclusively in Japan. I took some photos of three issues with the following themes: Vampire: Painful Eternity / Heartrendingness, Victorian: Influences & Metamorphoses of Victorian Culture in Today’s Japanese Sub-Cultures, and Sense of Beauty: Japanese Aesthetic. Other themed issues I didn’t get my hands on: Svankmajer (yes, an entire Svankmajer-themed issue), Gothic, Monster & Freaks [sic]. I also had a fourth issue called Doll, but gave it away to Ross because he is a doll fancier before I got a chance to snap some photos.

It’s a stunning magazine. Paging through it feels like like falling into a paper-fetish world that’s at once completely alien and intimately familiar.

The small pictures don’t do it justice, so click on through to the Coilhouse Flickr Set to see the full, annotated collection of images. This magazine cost around $15 in Japan, but I’m only finding it priced at $35 for those of us living in the US or in Europe. I’ve even seen copies appear and disappear for about $45 on Ebay. The magazine is almost entirely in Japanese, as is their site.

We are so inspired to see others publishing the kinds of things that we love, all over the word. We don’t know the people who do Yaso, but we are so, so grateful for them.

Meryem Yildiz’s world is a prescient place of whispered warnings, subtle secrets and an eerie language of memory, of reveries, of loss.  Strange, stark, images of ostensibly quotidian objects – “mementos, hidden treasures, dusty mirrors, nonchalant cats, mason jars, pages lost and found” – are laden with layer upon fragile layer of ambiguous allegory and understated intent.  There is a structured discontinuity here; moments fragmented, multiplied, merged yet again, that creates an uncanny whole – broken spaces full and empty, austere and adorned.  A Delphian dream, interrupted, repeating itself over and over.

A bit of  biography from Meryem’s website provides an intriguing glimpse into how her diverse background has influenced her work, manifests itself in current endeavors, and inspires future projects and collaborations – and the artist has herself kindly answered a few of our questions, elaborating on these points.

Born in Montréal from a French-Canadian mother and a Turkish father, Meryem was exposed to a variety of outlooks at a very young age, driving her to the diversity and malleability of perspectives … self-taught, Mme Yildiz’s work arises essentially from a wise use of unconventional resources. Throughout the creative process and at the heart of her work, Meryem Yildiz never forgets cognition, whether hers or others, nor the messages the human mind wishes to express (or to suppress).  It is no surprise then, to learn that she majored in psychology at McGill University and completed a graduate diploma in translation at Concordia University.

COILHOUSE: The duality you feel influences your work –  from your background and  exposure to different and disparate outlooks  –  can you expound upon this?
MERYEM YILDIZ: With my upbringing, I was confronted to two different worlds. This duality is a functional one: I love each culture without subduing the other, and without melding them into an indiscernible hodgepodge. When one is removed from the other, my reality and my self no longer make sense. The same applies to how I approach most of my work. By favouring diptychs, I can illustrate two facets of a single story. Whether it is a moment cut in half, a before or an after, or elements of a same narrative: one could not be without the other.

In 1930, the MPAA drafted the Motion Picture Production Code, also called the Hays Code – named after its creator, Postmaster General-turned-Hollywood-censor William Hays. The original text can be found here. “Sex perversion” (aka homosexuality) was forbidden, as were scenes of miscegenation, safe-cracking, “dances which emphasize indecent movements,” surgical operations, and “white slavery.” The Hayes Code went into effect in 1934, ending the brief, unregulated era of talking pictures that had started in 1927 and was known as Pre-Code Hollywood. (Two great Top 10 lists of Pre-Code films can be found here and here). Over at Sociological Images, Gwen Sharp has uncovered a photo from the era that intentionally incorporates the code’s top 10 banned items into one image. “The photograph, [taken by A.L. Shafer, head of photography at Columbia], was clandestinely passed around among photographers and publicists in Hollywood as a method of symbolic protest to the Hays Code.”

Lee Evil and Dougy Gyro in his “Nautilus” costume.

The tenth Edwardian Ball crept up upon us unawares, while we were still sleepy from holiday overeating and adjusting to our regular work schedules again. All of a sudden everyone seemed to say “This weekend? But I haven’t a costume!” And thus began the yearly scramble, with last-minute runs to the fabric store and safety pins carefully tucked away inside as-yet unfinished garments. The Edwardian Ball is one of those rare events where everyone–not just the performers and regulars–dons a costume. For some of us this means little more than our everyday wear, while others brainstorm for weeks.

A contact juggler amongst the revelers.

Silent-era glam, cure Balkan patterns and futuristic, sovaldi fortified silhouettes: this is the work of Lamija Suljevic, buy a 22-year-old designer based in Stockholm. In her new collection, shot by Emma Johnsson Dysell and unveiled last week, the Bosnian-born designer reflects on childhood memories of the home her family had to flee when she was five years old. “When I think of my hometown, I think of old techniques and handmade garments,” the designer told styleskilling blog. “Having that with me during my design process has become one of my strengths. If I’m working on my collections, I work wholeheartedly. Nothing else is good enough. If my grandmother were alive she would be proud, and things like that are very important to me.” Some of the old techniques incorporated into these garments include braiding, embroidery, pleating and crochet. Prior to this collection, Suljevicreleased some vintage-romantic looks on Lookbook under the label name Lamilla.

Designer –  Lamija Suljevic’. Stylist – Tekla Knaust @ new blood agency. Hair & make up – Nina Belkhir @ link details. Model – Olivia @ stockholmsgruppen. Photo – Emma Jonsson Dysell @ new blood agency