24 November 2010
Mixed / Multi Media 


Clifton Childree 
Clifton Childree
Orchestrated Gestures
November 27, 2010 - January 29, 2011
Dorsch Gallery is pleased to present Clifton Childree’s Orchestrated Gestures, a solo show opening November 27, 2010 from 6-9pm, on view through January 29, 2011. During the Miami art fairs (Nov. 30 - Dec. 5), we will be open 9am - 5pm with a special performance event on Saturday December 4, 9pm - midnight.
In Orchestrated Gestures, Clifton Childree will exhibit new sculptures, with film and audio components, in the form of old arcade machines. Each of these three machines conveys sketched-out narratives associated with musical pieces by composers Scott Joplin, Richard Wagner and Alexander Scriabin. Childree’s arcade games elaborate on and combine aspects of his previous work: grotesque slapstick, sweet silent film, self-contained arcade games and large-scale installations that incorporate his films.
With Orchestrated Gestures, Childree creates his first exhibition of stand-alone sculptures, each more fully realizing the potential of the arcade game’s form and more focused than his all-encompassing installations, like Dream-Cum-Tru at Locust Projects in 2008.
The first machine re-enacts the untimely end of ragtime composer Scott Joplin. A blend of fact and extrapolation, Childree’s story of Joplin is relayed by the film and its housing – the arcade game. The film in this piece shows Childree performing as Joplin playing piano in a bordello. The arcade built around the film comes across as a run down version of the strength-and-hammer game. The arcade game’s physical structure re-enacts a part of the story that its film describes; the story has moved the armature. Similarly, the second arcade game acts out the story of Ludwig II of Bavaria, known as “Mad King Ludwig,” the patron of Richard Wagner, whose music accompanies the game. The king’s effeminate character and his ignoble death are fodder for Childree’s exaggerations and hyperbole – all part of the slapstick style. The third machine crystallizes the character of co mposer Alexander Scriabin, a hypochondriac who died when a small boil he picked at became infected. Scriabin’s unfinished masterpiece, Mysterium, accompanies the machine’s telling of his story. Each of the musical pieces in this exhibition was either unfinished or lost, one of the attenuated states of being that Childree finds utterly beautiful.
With these works Childree probes grey areas that elude explanation, like the moments before death and creative mania. Familiar art history vocabulary – mortality, madness, artistic ambition, and the value of art patronage – falls short in describing this work. Orchestrated Gestures resonates because it defies such labeling.
A brochure featuring an interview with Childree will accompany the exhibition. View online here
His work will also be on view at Galerie Ernst Hilger’s booth at the PULSE Art Fair in Miami, December 2-5, 2010.
Childree has shown his work in over 40 international film festivals. He has shown in Miami at MAM, MoCA, Art Center South Florida, BFI, Pulse Art Fair, FIU, Miami International Film Festival, Florida Dance Festival and Locust Projects. He received the South Florida Cultural Consortium Fellowship, the Legal Art Native Seeds Grant, and the Florida Individual Artist Fellowship, and was commissioned by The Miami Performing Arts Center/Miami Light Project and Hilger Contemporary Gallery. He is featured in the book Miami Contemporary Artists and is in production on a book for NAME publishing. He will have his first solo museum show at the Wien Kunsthalle, summer 2011. He lives and works in Miami, FL.
Clifton Childree
Film still from Mysterium, 2010
Courtesy of Dorsch Gallery, Miami
Dorsch Gallery
151 NW 24 St
Miami, FL 33127
T +1 3055761278

Brian Dettmer, The March of Democracy, 2010 
Brian Dettmer
New Worlds to Conquer
November 20, 2010 - January 15, 2011
Artist talk, Saturday, Dec 18 at 2pm
SALTWORKS is pleased to present the highly anticipated solo Atlanta debut of artist Brian Dettmer's New Worlds to Conquer on view November 20, 2010 - January 15, 2011.
Sculpting traditional hard-cover books into artworks of intricate beauty, their richness and depth is uncovered and re-contextualized.  Taking inspiration from the book "New Worlds to Conquer" by Richard Halliburton (1929) the exhibition harkens back to a time when exploration of new lands fueled the fire of imagination and intrigue.
Between WWI and WWII transcontinental flight first became possible but was still only accessible to an elite few with the drive and the means to explore the world. Far-away lands were at once within reach and a new quest for knowledge and adventure began.  Adventurers returned from their explorations with exotic novelties and eye-opening stories of what they discovered on the other side of the globe.  Museums exploded with the proliferation of newly discovered artifacts found around the world. The quest for knowledge boomed; ideas developed into books and encyclopedias expanded. The hunger for knowledge of the unknown fueled the quest and books became the perfect vehicle to spread the stories and discoveries made around the world.
The form of the book is singular and unidirectional, making it the perfect vehicle to tell a story from a single observation or perspective. When ideas develop from multiple sources or are arranged in a non-linear manner the structure of the book and the content within collide and begin to de-rail. Form no longer follows function. Information and ideas are not static. Knowledge is constantly fluctuating and evolving and the newer forms it takes follow this fluidity. Newer media swiftly flips and mutates, unrestricted by the weight of material and history. Material and history are being lost, slipping and eroding, from a tangible constant to an endless series of digital mutations. The richness and depth of older books is universally respected yet often undiscovered, as users need a quicker, slicker bite of information. The book’s intended function has decreased. Its relevance is still vital but the content stays sedentary and the form remains linear in a non-linear world. We are left with raw material.
For Dettmer's first solo show in Atlanta, he continue to explore endless possibilities of the book as material and content. Questioning and examining the relationship between exploration and exploitation within records of knowledge and within the process of working with pre-existing media. When exploration has covered the surface a point is reached where one must ask if the continuation is deeper exploration or if it is an exploitation of obtainable materials and natural resources.  When resources are locally exhausted, desperation sets in and extreme measures begin to take place. Exploration for adventure and knowledge has evolved into a complex paradigm of exploitation, appropriation and war.
The ideas and esthetics of the search for knowledge and adventure, travel, exploitation and war (specifically in the first half of the twentieth century) are examined in this exhibition. Rectangular books on history and civilization are broken down and excavated, resulting in a sculptural forms and pictorial collages of re-exposed, fragmented memories. Books are shuffled and folded into one another to create combines which form more complex shapes and become explored as a whole. Records of travel and distant lands break apart as space and place fracture into a new matrix of connections and ideas. Texts break from a masked narration of violence and a series of extreme ideas and random ephemera to support expansion are exposed. The singular perspective is broken.
Brian Dettmer is originally from Chicago,IL. He currently lives and works in Atlanta, GA.  His work has been exhibited and collected throughout the U.S., Latin America and Europe and has been acquired for a number of public and private collections.  Dettmer has received international acclaim for his innovative use of media (primarily hardcover books and cassette tapes) to create intricately sculpted artworks.  His works have appeared in numerous publications worldwide including New York Times, Modern Painters, The Village Voice, Vogue Italia, Harper’s, Time Out, Chicago Tribune, The San Francisco Chronicle among several others.
Brian Dettmer
The March of Democracy, 2010
Altered Books
18-1/2 x 19-1/2 x 4 in
Courtesy of Saltworks, Atlanta
664 11th St. NW
Atlanta, GA 30318
T +1 404 881 0411
E info @
Wed-Sat, 12-5 and by appt

Neil Drabble, Saint Sebastian 
‘The Great Masturbator on Holiday’
Nov 20th – Jan 23rd 2011
Neil Drabble’s work is sharply conceived; developing ideas through installation, sculpture, text, photography and performance. It is tempting to compare some of his methods and results to those of contemporary satirists and comedians - take Russell Brand’s oblique comments to the U.S. electorate at the MTV awards when urging them to vote for Barack Obama. He said, ‘some people say that you’re not ready for a black president, but I know America to be a free thinking, forward-thinking, liberal country, afterall you’ve had that retarded cowboy fella in the Whitehouse for 8 years.’
Whilst on holiday in Spain this summer, Drabble made a series of temporary sculptures, some were then photographed, to become pieces themselves, and some remained sculptures and were brought home. ‘The Great Masturbator on Holiday’ is a selection of those pieces, which all share three clear assumptions at inception:
- that the title would be appropriated from a list of works made by Salvador Dali.
- that only the immediate locale of the Drabble holiday home would be used to photograph each sculpture (specifically, environments provided by backdrops in the garage, near the garden wall and on a desk in the house)
- that only items (or people) ‘found on-site’, would be used to make the work.
In ‘The Great Masturbator on Holiday’, many pieces present religious themes and / or a tendency for the absurd. With his three assumptions in place, Drabble was able to facilitate a rich, visual discourse in the making of the work that freely moved from literal interpretations to more circuitous ones; personal interpretations and ones we can all share and often recognise. An example of the latter would be the use of the title ‘Saint Sebastian’, which is so front-loaded with historical and metaphorical meaning that the outcome would surely reflect that….
….and so for his own piece titled ‘Saint Sebastian’, Drabble made a small sculpture consisting of a candlestick with a boiled egg perched on top. The egg is bound with thread and then pierced by pins and needles, whilst yolk drips and flows down the candlestick’s sides. The resulting photograph is a clear reference to paintings by Guido Reni and Mantegna, artists that revelled in the homo–erotic possibilities that the Martyrdom of Sebastian presented, and whose image, over time, has become a gay icon; further reference to which is made by the phallic shape of the object itself and the profusion and conflict of gender biased signs and symbols. Our existing knowledge (or lack of it) of the historical subject, creates a convoluted experience of the work that won’t sit still in the mind.
‘How can a boiled egg sitting on top of a candlestick look comical and slightly worrying at the same time?’
Neil Drabble
Saint Sebastian
Courtesy of Gooden Gallery, London
25a Vyner St
London E2 9DG
T +44 (0)20 8981 1233
E office @

JASON MENA, Destruction. 2010 
We all shall play in the ruins
November 12, 2010 - January 14, 2011
“The space of our physics, like the space of our daily lives, is thus a mere construction; an architecture thrown up by perception of the phenomena that surround us and thereby shape, for all of us, this ‘landscape of events’ that makes philosophers and scientists mere humble landscape artists.” Paul Virilio, The Unversity of Disaster
Jason Mena’s work entails a multi-faceted approach to contemporaneity that, drawn from conceptualism and minimalism, reveals the complexities and contradictions of the ever increasing urbanization of space. The City and its architecture becomes the main protagonist and consequently witness of the post-modern condition. Reality and fiction converge, they appear and disappear in the urban landscape, provoking multiple reactions and interpretations. Working with different media, mainly photography, video, installation and sculpture, Mena reacts to his surroundings and eerily reminds us that appearances can ultimately be deceiving. His work leads to a profound criticism of the constant simulation of culture, the speed of urbanization and the accelerated decay of our social and political climate.
We all shall play in the ruins comprises photography, installation, video and drawing. Informed by Paul Virilio’s take on the speed of post-modern society, Mena seemingly creates a ‘landscape of events’ where motion and velocity translate to both destruction and construction. Throughout the exhibition objects and images suggest movement in various explicit and even subtle ways. A central part of the exhibition is the photographic series Points of View, where Mena uses architecture to challenge the viewer’s perception. By focusing on the malleability of perception, these images not only delineate the fragility of contemporaneity but also the apparent imperceptibility of our urban reality.
Jason Mena (1974, New York) works between Mexico, Valencia, New York and Puerto Rico. He earned his B.A. at the Escuela de Artes Plásticas in San Juan, Puerto Rico. He has shown his work in numerous international venues such as the Poly/Graphic Triennial: Latin America and the Caribbean and the Museum of Contemporary Art, Puerto Rico, the Museum of Modern Art, Dominican Republic, the CCA Wattis Institute for Contemporary Art, San Francisco and the Painters & Sculptors Association Gallery, Israel. He was nominated for the Emerging Artist’s Brugal ARCO Madrid 09 Acquisition Award, received the 2008 Lexus Grant for the Arts and the 2006 AICA Award, International Association of Art Critics, San Juan, Puerto Rico.
We all shall play in the ruins is Jason Mena’s first solo exhibition at Luis Adelantado Gallery in Valencia.
Destruction. 2010
used pneumatic, digital print on glass, printed paper.
variable dimensionCourtesy of Luis Adelantado Valencia
C./ Bonaire 6
E - 46003 Valencia
T +34 963 51 01 79
E prensa @
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