At Bruce Silverstein Gallery in their show Beyond Color, they inspired this post. I couldn’t find images of the three that moved me but found more. Below is his bio taken from Getty Images.
Ernst Haas began his photographic career in the 1940s in Vienna, rising to fame following the publication of his photo essay on returning prisoners of war from Russia. Haas chanced upon his subjects at Vienna’s train station after a fashion shoot was cancelled. In 1951, Haas visited America and decided to make his home in New York, and it was at this point in his career that he began to photograph in color and establish himself as one of the early pioneers of color photography. Haas later became renowned for his work with motion photography of bullfights, nature and athletics. He also found success in the corporate advertising market with campaigns for companies such as Marlboro, Chrysler and Volkswagen.
Color perception mechanisms are highly dependent on evolutionary factors, of which the most prominent is thought to be satisfactory recognition of food sources. In herbivorous primates, color perception is essential for finding proper (immature) leaves. In hummingbirds, particular flower types are often recognized by color as well. On the other hand, nocturnal mammals have less-developed color vision, since adequate light is needed for cones to function properly. There is evidence that ultraviolet light plays a part in color perception in many branches of the animal kingdom, especially insects. In general, the optical spectrum encompasses the most common electronic transitions in matter and is therefore the most useful for collecting information about the environment.
The evolution of trichromatic color vision in primates occurred as the ancestors of modern monkeys, apes, and humans switched to diurnal (daytime) activity and began consuming fruits and leaves from flowering plants.[34] Color vision, with UV discrimination, is also present in a number of arthropods – the only terrestrial animals besides the vertebrates to possess this trait.[35]
Some animals can distinguish colors in the ultraviolet spectrum. The UV spectrum falls outside the human visible range, except for some cataract surgery patients.[36] Birds, turtles, lizards, and fish have UV receptors in their retinas. These animals can see the UV patterns found on flowers and other wildlife that are otherwise invisible to the human eye. So far, there has not been enough evidence to show that any mammals are capable of UV vision.[37]
UV and multi-dimensional vision[clarification needed] is an especially important adaptation in birds. It allows birds to spot small prey from a distance, navigate, avoid predators, and forage while flying at high speeds. Birds also utilize their broad spectrum vision to recognize other birds, and in sexual selection.[38][39]
excerpt taken from <http://en.wikipedia.org/wiki/Color_vision>
I called Leigh when I was putting my autobiography together, needing some dates and gossip on his infamous nightclub, Taboo. He was very charming and helpful. He asked me if the druggy section of the book would be ‘horribly apologetic’, adding in that heavily affected voice of his, ‘You were fantastic as a junkie, that was my favourite Boy George period.’ I laughed. It was typical Leigh, Miss Contrary, Scary Mary. I first met Leigh when he made some stage clothes for me. Of course, I’d seen him and Trojan around the clubs. How could you miss them? I went over to Leigh’s kitsch council flat in the East End. It was surreal. Leigh was in his Benny Hill day look: shop dummy wig and child molester clothes, surrounded by all this swirling 1970s bad taste. I had heard that he was an evil witch but thought he was a doll. Actually, I was in awe of him. Leigh made me two floor-length A-line coats. One was covered in gold hairgrips and the other had huge angel wings jutting out the back. They made me look fatter, which was probably deliberate. Leigh didn’t have the same size prejudices as the rest of us. He celebrated his fleshy proportions and turned them into a gorgeous fashion statement. I think that’s what I loved about him most; he pushed it in your face. Like the night he swanned into Daisy Chain in a puff-ball face mask, sequined boots with a matching push-up bra. Except for those garish trimmings, he was butt naked. A fake vagina rug hid his manhood, which I am told was substantial. Rachel Auburn said it was like a huge bruised banana. I remember staring at his big butt and thinking how brave he was and that he was quite sexy because of it. There is no question that Leigh was hiding himself behind all that spook drag, but still it was revolutionary. The rest of us used drag and make-up to disguise our blemishes and physical defects. Leigh made them the focal point of his art. I suppose some people thought of him as a ridiculous attention seeker, which he was, but there was so much more. He VI a brilliant fashion designer, art director and master of disguise. When he played the role of a prostitute in my video ‘Generations of Love’, directed by Baillie Walsh, he became the part. I know he could have been an outstanding actor if he had desired. Leigh hadn’t even begun to tap into his creative potential. That’s why he has to be remembered. A journalist at the Guardian once asked me if Leigh could seriously be called art. I said that if a pile of bricks can be called art, then Leigh most definitely can. How perfect that he died 0 a visual high. Refusing to be just another AIDS statistic, Leigh ordered his close friends to tell the world that he wasn’t in hospital but gone to farm pigs in Bolivia or gone on holiday to Pal New Guinea – no Darwin death-bed turnarounds for Leigh Bowery. When I heard Leigh had died, I cried. Just like I cried when my teenage idol Marc Bolan hit that tree. The world had lost another couture icon, another mirror ball.
Goodbye butterfly, Goodbye Satan’s child.
As the beach beauty in the 63 minute film, Dawn was required to sit under an umbrella, run into the water, drop her top and bob around a while. She performed well, then dropped from sight forever. All you will find on the web is that the Meyer sensation was her only role. There is also mention of only two magazines which ever ran layouts on her, and one cover shot, in “Modern Man Deluxe Quarterly” in 1958. more found here…
