Chris Reisig and Leeza Taylor
Having worked with some of the most iconic and influential figures in American popular culture in the last 25 years, Reisig and Taylor have influenced the evolution of the photograph as a cornerstone of Pop Culture. From capturing the history of hip hop to rock, from album covers to intimate portraits of sports legends and high profile entertainers, Reisig and Taylor have developed a tremendous oeuvre reflective of their scope, intensity, and skill as both artists and photographers.
With the unique capacity to interrogate and breakdown the normative barriers between intimacy and estrangement, anonymity and celebrity, sensuality and conviviality, dynamic and static, the force of the aperture as a way of cutting-through such dualistic entanglements emerges as the central strand carried throughout their body of work. Whether photographing a celebrities like Michael Jordan, Tupac Shakur, Will Smith or a personal family friend, Reisig and Taylor always maintain a certain tension between the world as it is seen and the world as it is lived—an aesthetic demand to see the world as we live it, rather than to live it as we see it. Their unrivaled ability to give each photograph voice in its purest form is shown in the visual and emotional connection with their subject matter. If an image could speak, what would they say about us, our society, the stories that captivate and define us?
As an aesthetic mode or art form that interrogates the time and space of art in itself, Pop Art works to blur the habitual distinctions between the mundane reproducibility of images in mass culture and the striking singularity of the work of art. It is this critical line of questioning which is explored through the aperture of Reisig and Taylor’s collection, Pop (3D) Lenticular (2016-17); incorporating images of Pop icons such as Prince and Marilyn, this photographic assemblage transpires through a multiplicity of cultural figures and aesthetic forces dancing between stillness and movement, serenity and chaos, familiarity and unknowing.
Awakened and vivified through the technology of lenticular (3D) photography, each piece literally pops in a momentary paroxysm as it convulses between audience and artwork—realizing a psycho-visual choreography performed between between body and image as they simultaneously dissolve and congeal in this effervescent materiality of the work. By splicing together, interweaving, and overlaying various photographs, images, and designs, the pieces collected in this series unleash a radical artistic potentiality as they inaugurate an experimental form of Pop Art that is narcissistically self-obsessed with interrogating the life-force or vitality of the Pop image in itself. It is as if these prints themselves instantiate and represent the joie de vivre of the photographic event—opening and closing, dilating and constricting… a hallucinogenic, virtuosic, blending of medium and matter. Reisig and Taylor’s Pop (3D) Lenticular shows us what it looks like when Pop Art sees itself in the mirror, looking at itself in the lens.