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Twenty-three brunettes, 10 puffs of pubichair, nine pairs of panties, two t-shirts,two socks, one tank-top, one bra, onebottle, and one bowling ball—though Isuppose it could be a basketball, amedicine ball, or a soccer ball. Twentylegs amputated by the edges of absentframes. Four pairs of legs spread wideopen (one of these ass-to-us). Three withhands in the air, as if dancing; one ofthese walks like an Egyptian. Two squat-ting and one kneeling as she says “comehither.” One who has painlessly surren-dered to Dan Gluibizzi’s composition ayarmulke or crown of scalp and skull.This is too much attention of the wrongkind: tabulation and rational interroga-tion feels dishonest with images so pruri-ent by design, and at the same time soabstract.

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Gluibizzi’s Monsters: Porn

Meme Art

By Daniel Bosch(http://www.culturalweekly.com/author/danielbosch/)on February 19, 2014 in Art(http://www.culturalweekly.com/category/art-architecture/) 7

Art & DIY Porn

3/1/14 5:55 PMGluibizzi’s Monsters: Porn Meme Art - Cultural Weekly

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(http://www.culturalweekly.com/wp-

content/uploads/2014/02/BoschDGpage1.jpg)Dan Gluibizzi, Untitled (watercolor, 30 x 22, 2010)

If analyzing them is beside the point, DanGluibizzi’s recent watercolors nonethe-less have a curious capacity to encourageme to think and to feel—I’m touched bythem more than I am encouraged bythem to touch myself. This has to do withthe relationship of these pictures to theirdigital sources. For hundreds of yearsartists seeking inspiration (and trustingvery old paths toward what was then un-derstood as mastery) went to Florenceand Rome and Venice to draw from clas-sical and renaissance nudes whose sto-ries comprise the foundational tropes ofWestern culture. Twenty-first centuryartist Gluibizzi combs D.I.Y. porn,exhibitionist, and naturist pages, collectsand curates images from collections al-ready curated by those who like to see—and share—images of themselves beingdone, then he sifts and selects and re-composes his haul, then he draws. Hisintervention is catalogical, formal: he’s aseeker of repetition and variation. Aculler-ist before he is a colorist,Gluibizzi’s gaze is less like Ruskin’s andmore like a flaneur’s. The images heseizes with his eyes and fingertips mayhave no intrinsic value, and they usuallyhave no market value, if only becausetheir like is infinitely available.

The source photographs are written inflashes of bright, demystifying light thatGluibizzi’s watercolors refuse. In LesFleurs du mal, Baudelaire, theorizer ofmodernity, confronted a “hypocritereader” (“mon semblable, mon frère”)who would drink deeply from his poems’re-mediation of gothic fictions. In the low,in the base, in the proscribed, in excessof appetite, in the busy-ness that is re-quired to meet appetite’s demands, inthe occult, in dark places, in the broken,

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in the semen-smeared, in rooms too darkfor photography, in corners too wet forwatercolor, he knew, there is yet enoughlight for reflection. Though many of thesource photos earn the adjective “dirty,”some viewers might feel the steadinessof Gluibizzi’s hand and his skill in apply-ing washes sanitizes his project. In thewake of a Wired.com article on Gluibizzi’swatercolors, a vocal set of readers com-plained about the article’s “NSFW”designation. And many who would notpurposely look at images on an exhibi-tionist Tumblr account or D.I.Y. porn webpage—at least not if they believed othersmight find out they had done so—areready to receive Gluibizzi’s images as fineart, which it is. Nonetheless, no smallpart of the power of these watercolors, apower which distinguishes them from somuch work done in the medium, derivesfrom their baseness, from the abjectnessin the forms Gluibizzi recounts andremediates, in the figures’ poses—literaland metaphorical—which even a hypo-critical reader like me will recognize ashis own.

(http://www.culturalweekly.com/wp-

content/uploads/2014/02/BoschDGpage3.jpg)Dan Gluibizzi, Untitled (watercolor, dimensions unknown, 2010)

When he’s finished making a work, hisgridded sheets of watercolor paper looklike computer screens full of thumbnailsor, if you are old enough to know,like contact sheets from pre-digitalphotography.

(http://www.culturalweekly.com/wp-

content/uploads/2014/02/BoschDGpage4.jpg)Dan Gluibizzi’s studio worktable (2013)

Today’s tablet readers scroll throughsuch thumbnail image grids so quicklythe pictures blur, and they slow the slot-machine, hoping for a winner, with in-

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finitesimal pressure from a fingertip.(Lay-people have come to call this“reading”; academics call it “research.”) Atraditional still photograph stops time,but in referring to their sources, the gridsof watercolor images Gluibizzi paints haltan irrefragable flow of images that pass-es under my hands and my gazes. In thisway Gluibizzi’s grids resist searchengines’ algorithms. If photography dis-placed the hand of the artist in favor ofthe speedy operation of a mechanism,Gluibizzi’s attention—his touch, brush inhand—criticizes our reliance on Googlyeyes. These watercolors challenge us toslow down, to restore time to that ob-scenity we let pass for attention. His eyeand mind filter Niagara so I can drink.

But what exactly am I so thirsty for?Though Gluibizzi only signs the verso ofthese sheets, he leaves a signature onthese watercolors is his omission of paintat eye, nipple, and belly button, holidayswhich signify his deftness and corrobo-rate the figures’ non-completeness. Thefigures in these paintings cannot returnneither desiring or dissecting gazes. Thequalities of any individual figure in thesewatercolors are not character traits butare rather indices of his handling of hismedium: they are predicated upon thedeftness of his choices of which imagesto depict and in what array, on the hori-zontality and absorbtiveness of the wa-tercolor paper, the steadiness ofGluibizzi’s brushwork, and the neartransparency of the pigments he uses.Yet if a watercolor like “Six HappyCouples” (below) is distanced from its ori-gins by Gluibizzi’s craft and frustratesany but the most banal narratives aviewer might try to elaborate from itsurface, that surface is yet exceedinglyarticulate about human recreation.

(http://www.culturalweekly.com/wp-

content/uploads/2014/02/BoschDGpage5.jpg)

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Dan Gluibizzi, “Six Happy Couples” (watercolor, 30 x 22, 2012)

The happy copulate with grasping handsand encircling mouths and pokingtongues and fingers. They kiss andgrope. Orifices and members and limbsand extremities are explored, tugged,licked, sucked, stroked, dandled. If thecommunities Berger describes use wordsto draw narratives from key objects inphotographs, Gluibizzi’s figures find oneach other’s bodies sites they have visit-ed before—and promises that each willbe visited again—yet each visit intendsnot cerebral satisfactions of past mo-ments recalled, but the ever-renewableembodiedness of a “now!”—intensepleasure, arrived at with eyes closed. Ifthere are no plot points here with whichto build a story, at least we know theclimax.

The first work of Gluibizzi’s I saw was oneof his monsters in oil on panel, a portraitof a red id, all eye and all “I.”

(http://www.culturalweekly.com/wp-

content/uploads/2014/02/BoschDGpage61.jpg)Dan Gluibizzi, Untitled (oil on panel, 4.5 x 4, 1999)

In his more recent watercolors Gluibizzihasn’t turned his back on the gothic andthe mutant and the ugly: often theseworks celebrate the counter-cultural am-bitions of the web pages from which theimages are drawn, and our naked, post-lapsarian bodies, offered forconsumption, may at times be terrible tobehold. (Doesn’t the untitled watercolorbelow from 2012 substitute a camera forthe empty gaze of the monster from1999?)

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(http://www.culturalweekly.com/wp-

content/uploads/2014/02/BoschDGpage7.jpg)Dan Gluibizzi, Untitled (watercolor, 15 x 11, 2012)

There is a delicious creepiness to his useof deathly or bloody or radioactivepalettes to render the black-and-whiteand living colors of the once-indexical,now untethered forms from thephotographs. Each figure’s or group offigures’ emergence reverses the photo-graphic process: each is made by addi-tions of liquid darkness. Some figuresmay seem more lively than others, buteven the most lifelike do not seem real:stripped of particularizing details, each isprofoundly anonymous, a he or she if not“undead,” then “not-living.” Habeascorpus? I suppose, but each body hasbeen, in order, shot, uploaded, distancedfrom a community of origin, re-contextualized, then downloaded byGluibizzi, and so cut off from the bodiesthat issued them, culled, and remade in amedium which is primarily the universalsolvent. Gluibizzi’s monsters may frightenus to the degree that they resemblespecimen grids in zoological collections,trays of creatures fixed in place by pinsand surrendered to a scientific gaze. Butthis rhetoric of science or science fictiondoesn’t mean Gluibizzi’s pictures are anyless eloquent about sex. In how manyspecimen trays has a lab worker stuck sixpairs of creatures arrested in the mo-ments before they fuck?

In the greater context of his over twentyyears of art-making, Gluibizzi’s recent wa-tercolors remind me that the word“monster” did not originally suggesthorror: it comes from Latin monstrare,root of “demonstrate” and “muster,” as ina proof, and in the Renaissance (maybeeven until the success of Mary Shelley’sFrankenstein) something “monstrous”could even be extraordinarily excellent.His watercolor monsters seem to me todemonstrate something fresher andmore difficult to realize than our jonesingfor low-hanging fruit. (The root of English

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“prurient” refers to the scratching of anitch.)

(http://www.culturalweekly.com/wp-

content/uploads/2014/02/BoschDGpage8.jpg)Dan Gluibizzi, Untitled (watercolor, 15 x 22, 2010)

Given their sources, these watercolorssurprise and delight me with how theybanish the stultifying sameness (not tosay hypocrisy) of D.I.Y. and professionalpornography. Banished, too, once onestarts to look, and to feel akin to thesefigures, is any outsider’s comfortablemoral stance. Objectification has longbeen the subject of moral critique, evenwhen it is self-objectification. Many ofthe images Gluibizzi uses as sourcesmust have been posted by objectifyingeyes. Do D.I.Y. publishers of prurient im-ages like to imagine that they participatein a “traffic,” like to represent themselvesas having access to bodies (or lifestyles)which others would wish to consume,even at a price?

(http://www.culturalweekly.com/wp-

content/uploads/2014/02/BoschDGpage9.jpg)Dan Gluibizzi, Untitled (watercolor, dimensions unknown, 2011)

This may be the point where obscenityobtrudes: the sadness and loneliness,even if it’s not wrong, of paying to imag-ine what should be freely given. Butthere is no one in these pictures toobjectify. With his monsters, Gluibizzitraffics in images of sex that coolly ex-pose—but not without humor—how triteand redundant our body language is, es-pecially when we would speak what wedesire. He presents all our clichés of lust

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and leer, all our stagy celebrations ofhow frank and “free” we can be about ourbodies, with a master’s severity, but with-out moralizing. To each of the monstershe so rigorously sets free from the web,Gluibizzi offers not judgment, but an em-pathy rooted in the discipline of hisproject. The figures are not who theywere when he found them, and thus theemancipation offered by these watercol-ors is not individual, but general.

In the untitled watercolor below, ninedistinct intimacies make one impression.What is it? And why is it so familiar?

(http://www.culturalweekly.com/wp-

content/uploads/2014/02/BoschDGpage10.jpg)Dan Gluibizzi, Untitled (watercolor, 18 x 15, 2011)

The likeness of the hues use to depictthese nine couples suggests they weredrawn in an afternoon from a single trayof puddles on Gluibizzi’s worktable. Inconcert with a hundred other formal andcompositional similarities, those inhu-man hues suggest to me how difficult itis for any human couple to express toother humans, by means of their bodies,and light, and shade, the lived unique-ness of their knowledge of and feelingsfor each other. We are always trying topresent or represent them inphotographs, our feelings, but when ourpictures are finished, our feelings arenever there. And yet we never stop creat-ing images of ourselves! How human it isto respond to this felt discrepancy, thisfailure of any one image, by taking, ormaking, another one!

In these nine couples I see one couple,an Adam and an Eve whom Satan has notyet tempted with any greater knowledge.But in the context of his projectGluibizzi’s “happie pair” is already wellaware that they are naked. Old Testa-ment angels stood by creation with flam-ing swords; in Gluibizzi’s re-framings ofour naked truths, any such dispensationis over. Lifting them from the web, re-

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DIY(http://www.culturalweekly.com/tag/diy/)

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Daniel Bosch

(http://www.culturalweekly.com/author/danielbosch/)

Daniel Bosch's essays and re-views are forthcoming at TheParis Review Daily, The FortnightlyReview, and The Daily Beast, andthree new poems will appear dur-ing February athttp://thedoctortjeckleburgreview.com.

mediating their figures, Gluibizzi grantseach Adam and Eve and all their descen-dants a grace period which starts overeach time we look at them. To feel forand with these nine couples embracingis to imagine that as Adam and Eve be-came less ideal, they became more per-fectly human.

Dan Gluibizzi’s show ‘Between Friends’ is at

the Kopeikin Gallery in Los Angeles March 1-

April 19, 2014. Information at

http://www.dangluibizzi.com/

(http://www.dangluibizzi.com/)

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6 Comments Login

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• Reply •

Sharon Knettell• 9 days ago

And if you can take a

furthermore- this is an

illustration style that is perfect

for a how to in a children's

book- Dick and Jane for

gradeschoolers. Its banality is its

most frightening aspect, a

'gentle porn' to make it

palatable- perhaps suitable for

hanging in your child's room-

something for 'enlightened'

parents.

Pornography is not a victim-less

crime and to soften it up it up in

the delicate medium of

watercolors or celebrate John

Currin's excesses is to deny its

disastrous effect on women and

its criminality.

And I am tired of MEMES! Is

there no other word that would

do? Perhaps 'plague'.

• Reply •

CulturalWeekly

• 9 days ago

Mod Sharon Knettell

Thanks for these

extended thoughts

Sharon Knettell• 9 days ago

And if you can take a

furthermore- this is an

illustration style that is perfect

for a how to in a children's

book- Dick and Jane for

gradeschoolers. Its banality is its

most frightening aspect, a

'gentle porn' to make it

palatable- perhaps suitable for

hanging in your child's room-

something for 'enlightened'

parents.

Pornography is not a victim-less

crime and to soften it up it up in

the delicate medium of

watercolors or celebrate John

Currin's excesses is to deny its

disastrous effect on women and

its criminality.

And I am tired of MEMES! Is

there no other word that would

Favorite

Share ›

Share ›

3/1/14 5:55 PMGluibizzi’s Monsters: Porn Meme Art - Cultural Weekly

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Isabel Allende:What’s theMystery?1 comment • 8 daysago

Judith Remy

DominiquePalombo:N’arrete pas!2 comments • 10 daysago

sarah elgart —

ALSO ON CULTURAL WEEKLY

• Reply •

there no other word that would

do?

• Reply •

Sharon Knettell• 9 days ago

Your use of 'flaneur' is

questionable. It is generally

meant to be a stroller- Manet

was considered a flaneur- this

artist is no where close to being

a Manet. By the by- I have

noticed this word popping up in

art criticism lately- I guess it is

designed to give an essay a

certain je ne sais guoi or smug

knowingness where it may not

be deserved.

• Reply •

Sharon Knettell• 9 days ago

see more

Pornography disguised as art or

art disguised as pornography is

art for those who are so

saturated with contemporary

culture they are not able to

appreciate anything unless they

are somehow jolted or

titillated.Perhaps They feel they

are not getting their money's

worth- artistic sadomasochism.

Pornography for the one

percent. 'Artists' are wise to

pander to this jaded but wealthy

subset of the art market

because they often make rich art

stars out of non- entities and for

many that is the raison d'etre.

• Reply •

daniel bosch • 10 days ago

"Between Friends," a show of

Dan Gluibizzi's new paintings

opens March 1 and runs through

April 19, 2014 at

Kopeiking Gallery, 2766 S. La

Cienega Blvd.

Los Angeles, CA. 90034

(310) 559-0800 tel (310) 559-

0802 fax

info@kopeikingallery.com

Share ›

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Judith RemyLeder — Let's

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from Julie

Dolcemaschio.

A review that is

funny, literate,

and …

sarah elgart —Thank you

Maurice, for

your faithful

reading and

your generous

insights.

Surprise! CBSBeats YouTube2 comments • 3 daysago

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Chicken Little

Moment" is

becoming a

permanent

part of my

metaphor

toolkit.

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blanche

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