The Museum of Bad Art collects and exhibits original art in which "something has gone wrong."
The collection ranges from the work of talented artists that have gone awry to works of exuberant execution by artists barely in control of the brush.
Contact us: MOBAcurator@gmail.com
This image of the classic 1980s toys emanating from a jester gargoyle's mouth can only be described as puzzling.
The viewer is challenged to grasp the true meaning of this minimalist painting, a task that would probably be less daunting with the knowledge of the relative position of chevrons 1,2,3,4,5,6,7,8,9,10, and 11.
A nondescript everyman reaches forward, trying to touch, comprehend, and become one with the expanse of orangeness around him.
This haunting scene draws us in with subtle hints of capitalist morals.
Latex gloves and bodily fluids add color to this piece that depicts a laboratory experiment gone horribly awry.
A mushroom cloud floats above the city as seen through a church window, framed by detatched human limbs and an Escheresquely entwined vine; evoking the vulvic imagery of Georgia O'Keefe and Judy Chicago. The artist has described her work as "Regrettable Adolescent Surrealism".
The grotesque faces, disjointed body parts, amorphous shapes, paint drips, and other abstract elements in this work are simply there to provide textural background for Pearl, who dances joyfully over everything.
Infuriated and distraught about the state of the world, the iconic Lady of the Harbor has come down from her traditional perch, bemoaning the fact that, despite global warming, her day in the sun seems to have passed.
This is a depiction of the murder, in his bathtub, of Jean-Paul Marat, a leader of the Jacobins during the French Revolution.
Rather than cover her face with a blindfold, the artist depicted Lady Justice with no eyes. While she is often seen holding the scales of justice, a sword or a book, she is in this painting juggling a ball of dreaded kryptonite in her ample hand at the end of the long arm of the law.
Purchased at the same thrift shop a year earlier, this may be a study for LONG ARM OF THE LAW
In like a lion, out like a lamb; the glorious thrill of victory and the deathlike agony of defeat are portrayed with imagery borrowed from the Book of Revelation in this homage to the annual spring classic.
While this appears at first glance to be an abstract expressionist painting, the artist's title and the fact that he painted it as a wedding gift to the anonymous donor are clues that it is, in fact, lasciviously representational. The painting works on many levels; unfortunately the marriage did not.
The woman/tree is crying out for help that will never come.
The over-the-top imagery, combined with the painting's title (written on the back of the canvas), seem to illustrate Albert Einstein's assertion that "time is relative".
Clearly an homage to the late Pope John Paul II, this painting is not without mysterious imagery such as the unusual lettering and Milkbone logo in the lower left quadrant. The jagged red line may represent an EKG of the Holy Father in failing health, while others insist it represents the Dow Jones Industrial Average for the life of "The Great One", 1920-2005.
The artist wrote, "just having fun" on the back of this triptych featuring textured swirls of paint offsetting found objects; an homage to women's underwear. It is difficult to determine whether the previous owner of the artifacts was similarly amused.
The MOBA Curator-in-Chief initially assumed this minimalist piece was created by a cat walking in blue paint.
The artist wrote, " It was painted on a small easel while listening to the piano music of Arnold Schoenberg. It is suggested that the work is revolved by 90° every three months."
When the Curator played a recording of Schoenberg's piano music to better appreciate the painting, his cat walked out of the room.
A man with short hair is depicted among seals, snakes, and other creatures who share his bright red facial features. At first glance we expect him to be uncomfortable or threatened, but these creatures smile and cuddle. There are no nightmares here; just the happy dreams of friendly forces that make life more pleasant.
The artist uses faux hi-tech medical imagery, what appears to be a death mask, and a violent image of pugilists in action (based on George Bellows' 1924 painting of a match between Jack Dempsey and Luis Ángel Firpo) to illustrate the inherent danger confronting all the faceless athletes who engage in the "sweet science”.
The Red Sox runner successfully avoids the catcher's tag at the plate, only to be swallowed by a mysterious fan/beast. The viewer is left to wonder why he decided to return home from first base.
Inspired by the film Jurassic Park, many have speculated about the possibility of using traces of fossilized dinosaur DNA to produce a living Tyrannosaurus rex.
Unlike the sacrificial canaries in a coal mine, the seagulls in this metaphorical painting are free to leave when they sense conditions are deteriorating.
This is a literal visualization of a man suffering from a syndrome caused by intestinal viruses of the Picornaviridae family commonly known as hand, foot, & mouth disease.
With minimal detail and limited color palette, the artist portrays a thinking man. While its relative size indicates a big idea, the viewer is left to determine whether the thought is ephemeral or lasting.
The artist is saying, in no uncertain terms, that unless we learn to conserve our priceless resources, the yolk will be on us.
The artist has created a colorful and texturally rich homage to Mother Nature. Can you find the snail?
Frightening non-kosher demons haunt this blonde, blue-eyed beauty in a see-through blouse. Her world is cracking apart at the edges, but her careful hairdo and makeup show us that she knows it’s important to keep up appearances.
This painting seems to be visual representation of Yogi Berra’s advice, “When you’re driving an imaginary car and you see a flying fork, take it.”
Many faces are depicted in a crazy-quit jumble. The artist's use of common pine and monochomatic hues indicate indicate his underlying democratic belief that everyone is a star.
Damp tropical heat radiates from this surreal depiction of shapely female fertility. Among the interesting details are the vine emanating from the navel of the figure on the right, and the north/south/east/west divergence of her friend's bosom.
We see a surreal misandric image of giants on a bucolic outing.