Television
Although to many she is best known for Demi's Birthday Suit, art aficionados consider her most famous work Disappearing Model. The work appeared on Ripley's Believe it or Not!. In the trompe l'oeil body painting, the face and body of the model are almost indistinguishable from the red and blue and yellow flowers of the wallpaper in the background. Her first body paintings was also memorable as she painted a moko on a female Ford Modeling Agency fashion model named Jana, which is a tabooed employment of a traditionally male ritual face mask. An example from Gair's website of her ability to trick the eye into seeing a three dimensional subject blend with a two-dimensional background is seen in a photograph of a pregnant Elle Macpherson. Other examples of this technique include the cover of her first book (pictured below) and images from within this book.
She participated in Germany's Next Topmodel by painting and photographing the final four contestants in leopard prints. During the episode, which was Cycle 1 episode 6, she handled two models per day working for six to seven hours with each. The works covered the shoulders, legs, breasts and stomach and included long hair extensions. The episode resulted in work that was so successful that none of the contestants were eliminated.
Read more about this topic: Joanne Gair
Famous quotes containing the word television:
“... there is no reason to confuse television news with journalism.”
—Nora Ephron (b. 1941)
“Television ... helps blur the distinction between framed and unframed reality. Whereas going to the movies necessarily entails leaving one’s ordinary surroundings, soap operas are in fact spatially inseparable from the rest of one’s life. In homes where television is on most of the time, they are also temporally integrated into one’s “real” life and, unlike the experience of going out in the evening to see a show, may not even interrupt its regular flow.”
—Eviatar Zerubavel, U.S. sociologist, educator. The Fine Line: Making Distinctions in Everyday Life, ch. 5, University of Chicago Press (1991)
“In full view of his television audience, he preached a new religion—or a new form of Christianity—based on faith in financial miracles and in a Heaven here on earth with a water slide and luxury hotels. It was a religion of celebrity and showmanship and fun, which made a mockery of all puritanical standards and all canons of good taste. Its standard was excess, and its doctrines were tolerance and freedom from accountability.”
—New Yorker (April 23, 1990)