Reisig and Taylor Contemporary is an experimental gallery located in Los Angeles. As a medium for (art)work, the gallery operates through an evolving program at its current location (2680 S La Cienega Blvd), as well as through off-site projects and collaborative presentations that take-place locally and internationally. Working against settled constructions of space, place, and time, the gallery inhabits a drifting, germinal and adaptive—seeding and blooming—structure that sustains consciousness through critical analysis and careful documentation. We begin with the gallery as a work of art: an artwork built with others. Work.

Initiated in 2020, the gallery functions independently as an open source for artists, audiences, curators, collectors, and critics. The gallery builds a general economy—and physical place—between the conceptual forms, the cultural positions, and the material productions of contemporary art with the objective of supporting artists working in all mediums and dimensions of the present (and future) moment. The current program focuses on experimental work and insurgent or liminal processes (work that is actively at the margins of identity, material, economy, or history). The trajectory of the gallery is non-linear, non-teleological, and anti-imperial. As an archive and a community, the gallery works to develop ethical ways of keeping time, connecting spaces, and circulating alternative economies that usurp, disorient or reorient “art markets.”

What is an artwork? What is an artist? What is a gallery? And how might a gallery begin to give an account of itself (or at least of its disappearances and displacements)? These basic but recurring and unanswered questions are the gallery’s foundational problems.

It is the place of the gallery (and its inhabitants) to investigate how the historical/material conditions of an “art object”—including the gallery itself—are either reproduced, translated, challenged, or disinherited with each act of exhibition. Rather than focusing on any particular movement or theory, the program demonstrates a simultaneity of movements and theories at work along any single exhibition, artwork, object, or artist. (The contemporary artwork appears in more than one place, at more than one time.)

Through analytic and historical documentation of exhibitions, works, and artists, the gallery’s form is critically driven in response to its own processes, materials, and records: light, time, body, language, and space. The gallery’s program is performed through physical exhibitions, analytical texts, exhibition catalogues, historical documentations, collaborative publications, and virtual collections, as well off-site events or projects. Orienting itself as a resource, and a vehicle of research and experimentation, as much as a formal exhibition space, the catalogues and other publications produced by the gallery provide a relational structure that extends beyond the physical premises.

{Read about the gallery’s current program here: XY}

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Historiography and Future Anteriors (Thens and Now-Thens)

Originally established by artists (and couple) Leeza Taylor and Chris Reisig, and now led (since March 2023) by their daughter Emily Reisig, the space is artist-founded and family-operated, working through the relational structure embedded in a “house” as an interval between a traditional gallery-space and a collective gallery-space. Inhabiting this interval, the gallery pairs the archival and conceptual rigor of an academic or institutional setting with a utopian promise of a self-reflexive (but nonetheless generationally) and circularly organized economy of power and kinship. The opening-up of this semi-private place between entangled entities—the private and the public, the actual and the virtual, the already and the yet-to-come—is neither invention nor rejection, but a socially necessary (and historically impending) surgical incision into the politics and poetics of relations bound-up in the knotted place of the work of art. Positioning the gallery as a question of relation (of relations), this strategy is a way of beginning with the “family-operated” organization of the gallery as a recursive and literal entry into the preliminary conceptualization of the space and its exhibitions. More immediately, it is a way of working with something familiar in an unfamiliar way. (In this case, a de-atomization of the atomic family.) By working-through the transparent sheets that usually separate artists, artworks, critics, collectors, curators, families (estates), and gallerists, the gallery is built to re-examine social stratifications of artworlds through a critical engagement with (non-)persons, (non-)places, (non-)things, and (an-)aesthetics as they alchemically converge in the space of the contemporary gallery. In other words, beginning with its foundation, the gallery constantly works to interrogate the places, markets, and populations through which it carries-out its work. The gallery and the community it gathers will continue to evolve in response to the results of its adaptive structure.

The program’s curation and documentation is carried-out by objet A.D (Emily Reisig + Zach Baker). Their curatorial practice combines Zach’s theoretical, historical, and psychoanalytic research—and writing—with Emily’s extensive experience in directly working-with emerging and already-established art forms (and art markets), along with her studied knowledge of presenting and conserving materials or mediums that range across fine, new, and unlikely media. Diagrammatic and other alternative modes of visual presentation and documentation are central to their curatorial work.

Beginning as a nomadic, collectively organized gallery, Reisig and Taylor Contemporary questions how spaces become places (and how places become rooms). This questioning is initially materialized and practiced through the gallery’s use of carefully selected temporary spaces for its exhibitions throughout Los Angeles. Following the lessons learned from operating with a nomadic structure, Reisig and Taylor Contemporary is now housed in a permanent space in the Culver City Arts District. The gallery has regarded the quest for a permanent space in Los Angeles as a necessary ethical dimension of the gallery’s placement in a city where gentrification plays a powerful role in furnishing colonizing powers and triggering displacements of already-present populations. The selection of our gallery location has been critically accounted for, and it is our aim to take-up the space as a place of encounter between all folds of the city’s fabric. Always bearing-in-mind the relation between placement and displacement, questions of spatial justice—and the relationships between the placement of art galleries and the populations they serve—are central to the gallery’s studied confrontation with the place of the gallery in itself as the starting point for inquiries into the power of contemporary art. As a site of sights, the gallery must seriously consider what is covered and what is uncovered by its placement. This extends to the core structure of the gallery as a “house” or as “housed,” to the extent that it immediately begs the question of its opposite: the “unhoused.” Welcoming this kind of schism into the gallery gives way to a series of questions. What is it to be placed or located? What is it to make-room for objects, instances, or durations? What is it to build a space capable of asking questions about itself? Ultimately, art should be seen or encountered in view of what it obscures.

The linking of the already and not yet is this gallery’s iterative process and productive function. (A gallery is nowhere but beside itself.)

[Read about the gallery’s preliminary formation through an experimental series of exhibitions, the “Dual Presentation,” here.]

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Emily Reisig: Dealer

Leeza Taylor: Director / Founder

Chris Reisig: Engineer / Founder

objet A.D (Object 80): Curator [E. Reisig + Z. Baker (M.A.; -Ψ)]

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The Gallery and the Colonial Reality

Reisig and Taylor Contemporary acknowledges that the place of the gallery is only referred to as “Los Angeles” by the fact of the European colonization of unceded lands inhabited by Ventureño, Gabrieleño-Tongva and Fernandeño peoples. The gallery also acknowledges that simply stating this fact cannot account for any repair to the violent history of these peoples’ forced displacement and reeducation, nor can it account for the irreparable damage done to native populations by separating them from their homelands. It is also true that brandishing this position—i.e., merely stating the fact that the land the gallery occupies was once and still is inhabited by these indigenous peoples—does not discount or excuse the privileged place of the gallery as a direct extension of this colonial reality. However, by writing what is usually under erasure, it is our intention to locate the historical trajectory of the gallery’s context and to begin to give an anticolonial account of how the gallery’s place, position, and power has arrived at its present iteration.