Since its irruptive emergencein the ‘50s, Pop Art has sustained an intoxicating aesthetic force and anobsessive cultural compulsion across the material and theoretical dimensions ofcontemporary artistic production. Continually transgressing the historicallimits of taste and consistently redefining the traditional conceptions of theart object, Pop Art seems to insist on a disorientation of the positioning ofhigh and low, object and artwork, repetition and difference, reality andsurreality. In other words, as an aesthetic mode or art form that interrogatesthe time and space of art in itself,Pop Art works to blur the habitual distinctions between the mundanereproducibility of images in mass culture and the striking singularity of thework of art. But what is it, exactly, that insists on this disorientation in Pop Art? And what is the disruptive, intoxicatingforce through which the elements of Pop are maintained and transformed in the technologicalcontexts of the contemporary world? It is this critical line of questioningwhich is explored through the aperture of REISIG AND TAYLOR'S collection, Pop (3D) Lenticular (2016-18); incorporating images of Pop iconssuch as Prince, Che Guevara, and Lady Gaga, this photographic assemblagetranspires through a multiplicity of cultural figures and aesthetic forcesdancing between stillness and movement, serenity and chaos, familiarity andunknowing. Awakened and vivified through the technology of lenticular (3D)photography, each piece literally popsin a momentary paroxysm as it convulses between audience and artwork—realizinga psycho-visual choreography performed between body and image as theysimultaneously dissolve and congeal in the effervescent materiality of thework. By splicing together, interweaving, and overlaying various photographs,images, and designs, the pieces collected in this series unleash a radicalartistic potentiality as they inaugurate an experimental form of Pop Art thatis narcissistically self-obsessed with interrogating the life-force or vitalityof the Pop image in itself.  It is as if these prints themselvesinstantiate and represent the joie devivre of the photographic event—opening and closing, dilating and constricting…a hallucinogenic, virtuosic, blending of medium and matter. Reisig and Taylor’sPop (3D) Lenticular shows us what itlooks like when Pop Art sees itself in the mirror, looking at itself in thelens. 


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