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
Lush tropical foliage that dwarfs the tiny grandmothers and brilliant colors demand the viewer's attention. Painting almost 30 years before the fact, the visionary artist depicts the boy-hero's grandmothers' return from visiting him in Miami to their native Cuba, where the tropical plants are muy grande.
In spite of her unfortunate haircut which was fashionable at the time, Liza Minnelli's remarkable stage presence at the peak of her career is evident in this portrait.
What appears to be chest hair on the pop icon is actually mold; the artist stored her painting in a damp garage for twenty-seven years.
The artist made some interesting choices depicting the anatomic proportions as well as the demeanor of the young woman in this little portrait.
Lost puppy? No one to play with? Nothing on TV? What sad fate has befallen this young beauty with the big red bow? Only the bright chandelier hanging curiously close to the wall breaks the monotony of the limited color palette that seems to symbolize the young girl's ennui. Her life seems so empty that she must even conjure an imaginary shelf on which to lean.
A young woman is portrayed lying on her stomach with her hands on her chin and her legs kicking in the air in this portrait of teenage ennui. She seems to have no joie de vivre. She also has no pants.
His long sideburns and blonde curly hair indicate that the ruggedly handsome subject, with his lantern jaw, perfect teeth, and movie-star good looks, was painted sometime in the 1970's.
Her toothy smile, large eyeglasses, double chin, and lumpy hairstyle give the unidentified subject of this portrait an air of frumpiness that became quite fashionable among women of a certain age in the UK.
The artist celebrates the joy of social dancing in this delightful depiction of an embracing Mexican couple.
A variation on a theme by Marcel Duchamp, reflecting the steady decline of an American legend.
We see rotund lovers with impossibly tiny feet sharing a private moment. The young man holds a flower for his lover as they shyly avoid direct eye contact.
And you thought you were having a bad day!
Oblivious to the serpents that slither on him, he hangs his head and wonders what else can possibly go wrong on his tropical vacation.
Highlighted hair (or very complex lighting) draws attention away from the actor's receding hairline and piercing eyes. His dejected gaze seems to reflect the realization that he is no longer suited to the leading-man roles to which he once aspired.
The genteel social elite in 18th and 19th Century Europe enjoyed playing badminton at lawn parties. The handsome woman depicted in this portrait probably inspired by the 1737 painting GIRL WITH SHUTTLECOCK, by Jean Baptiste Simeon, holds a birdie featuring colorful feathers and a surprisingly modern racquet probably more suited for The Championships of the All England Lawn Tennis Club at Wimbledon.
The suit worn by the subject in this embroidered tribute to Belgian surrealist Rene Magritte is reminiscent of Joseph's Amazing Technicolor Dreamcoat. His featureless apple-face is obscured by what appears to be a vagina.
in this homage to the work of Edvard Munch, the subject, looking like William S. Burroughs with Sponge Bob Square Pants' body, throws up his hands and screams "L'chiam!" before enjoying his naked lunch.
The artist scratched the orange background paint with a sharp object to reinforce the violence of this image of an armless raven-haired woman in a white dress sitting on a barstool with blood dripping from a bullet wound between her scapulae. Somehow she remains upright.
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.
The maniac wiry plants, the opaque spectacles, the long limbed body frozen with tension, even as it shies away from our curiosity. Everything in this rigid canvas silently implores us to avert our gaze.
The artist writes, "[This is my] partner Lyn, losing the battle with the middle objective of her research grant proposal (something to do with cross-talk between insulin-like growth factor binding proteins and retinoid-X receptor heterodimerization, since you ask)."
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.
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.
The artist bravely portrays himself as an immodest street performer in the City by the Bay in this life sized self-portrait.
His canine facial features make this painting reminiscent of Mari Newman's BONE JUGGLING DOG IN A HULA SKIRT.
The famous author is depicted in a realistic, if slightly hydrocephalic, manner against a psychedelic background. His bow tie appears to be an afterthought.
Vaguely aware of the other patrons behind her, an attractive slim woman with very long legs sits with her glass of red wine and single rose at a table for one featuring a large bouquet of flowers, wondering when love will arrive.
Blue room, blue sky, blue ensemble: Mirth and melancholy combine while Sister, banished to the corner, teases Kitty from afar in this ode to Van Gogh's THE BEDROOM.
Who knows what moves someone to portray himself as a plumbing fixture?
The artist captures the wry smile on the lips, the slight weariness behind the eyes and the hint of a lump in the long throat, as the heat and light of 40 candles give Sid pause to contemplate his mortality.
The artist writes, "...an emotive portrait of myself as a college student in the late '70s."
Surrounded by soft drapes, flowers, and a bowl of fruit, a comely woman wearing a loosely tied robe demurely blushes as she reads what may be a steamy romance novel. Further examination may reveal that this is a painting of Governor Sarah Palin perusing one of the various news magazines she reads regularly; the names of which she famously failed to remember.
With his re-election, Barack Obama ensured his place alongside David Palmer ("24") and Tom Beck ("Deep Impact"), in the pantheon of 21st Century African-American Presidents of the United States.
According to tradition in the islands of the South Pacific, the white gardenia over her right ear suggests that the young woman in this painting is unmarried. Her right arm resting comfortably on the bottom of the canvas suggests that the artist made a conscious decision to avoid the difficult challenge of painting her hand.
A daring artist challenges our ideas about race, age, fashion, and anatomy.
The artist's deft technique makes it abundantly clear that his funny hat and painted smile can not disguise the sadness of this young boy whose grotesquely dysmorphic ears most likely destine him to an itinerant life in traveling tent shows.
Apparently fond of the domestic worker in Jan Johannes Vermeer's painting (De Melkmeid, c. 1658-1661), the artist chose to brighten her austere work environment with a lovely bouquet of flowers.
A woman's unusually large well-manicured hand emerges from the foreground flowers in a tender caress in this touching portrayal of sororal love between beautifully coiffed conjoined twins. Given the inordinate amount of time they spend together, it is auspicious they get along so well; always seeing eye to eye, as it were.
A comely woman in a fringed bikini stands unfazed by leeches and engulfing flames; metaphorical reminders of the enigmatic hazards of feminine beauty.
Two or more artists contributed to this work in which we are reminded, when walking the desert at night, to remain focused.
The ambivalence dancing across the face of this tortured hombre does battle with the urgency of his bloodless, quivering heart, seen on his lapel rather than on his sleeve.
An Aztec emperor introduces the no-look high-five to a new friend who, judging from his suntan, has only recently arrived in the tropics. It is interesting to note that, while they come from disparate cultures, both men wear their pants in the "sagging" style currently in fashion among young men in many urban centers.
The artist combined disparate techniques such as the "vanishing point" (a perspective device developed in the fifteenth century Renaissance) and "Pollockian drips" (a mid-twentieth century abstract paint application method) to portray a womanly apparition in a tulip field.
Impressed by how well they worked on her pets' and her own teeth, Annie used Crest Whitestrips to brighten her toenails.
Miss Monroe as a diminutive yet zaftig ballerina in mid-pirouette.
A little too old to have hair so blond and lips so red. The darkness rises and threatens to overwhelm.
Are those fading dreams around her?
The motion, the chair, the sway of her breast, the subtle hues of the sky, the expression on her face; every detail cries out, "Masterpiece!"
A young girl stands in a sparse field of wild flowers under a tranquil blue sky and in front of an empty field; portraying of the innocence of youth before the infinite possibilities of life ahead.
The piece comments on the incongruity of royalism at the close of the second millennium. The formality of the pose contrasts with the laissex faire attitude of Her Majesty, caught mid chew, as she sports a jaunty beret in preference to her emerald encrusted crown.
While the image has a Norman Rockwellian charm, it is probably best appreciated as an illustration of the creative devices to which artists sometimes resort to avoid the difficult challenge of painting human hands.
Sublimating his rage after being spurned by a Russian woman, the artist represented himself as the legendary abominable snowman in a fearsome pose. Upon completing the self-portrait, he took it to an open field and shot it with a shotgun.
In Hollywood, even the palm trees have work done.
Larger than life, she purrs with her big bedroom eyes open wide in anticipation, "Hello boys". Bianka knew, the more hair the better.
This portrait works both as a full-face portrait of the Purple One and as a profile view. Franny spared no paint in this work which brings to mind the work of Vincent Van Gogh in his LSD period.
This painting is the depiction of the ancient parable in which a Blueish mother gave her son a green shirt and a yellow shirt for his birthday. When he next visited his mother, the nice Blueish boy wore the green shirt, only to hear his mother cry, "What's the matter, you didn't like the yellow one?"
A cross-gender interpretation of the daVinci classic.
Taking their cue from The DaVinci Code, by Dan Brown, museum curators decided to use anagrams of the title to better understand this mystifying work:
I AM NASAL,
A SAIL MAN,
AM A SNAIL,
Using monochrome neocubist technique, the artist presents us with a portrait of a sophistocated feminine beauty who manages somehow to simultaneously resemble young Lauren Bacall and Dolly the Sheep.
A monochrome pink woman inexplicably ascends from a wheat field, surrounded by irises, under a starry night sky.
Rising from the murky depths like Nessie, this mysterious beauty from the underworld haunts the viewer with her piercing gaze with eyes both blue and brown.
The president's father beamed with pride on that cold, windy day when his son, looking eerily like the future King of Pop, ignored the snow piling up on his face and suggested we ask not what our country could do for us, but what we could do for our country.
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.
Can the swirling steam melt away the huge weight of George's corporate responsibilities?
This is a fine example of labor intensive pointlessism.
The unidentified subject's personality was so large his image could not be constrained by the frame around his portrait in this painting within a painting. His handle bar smile is deceiving; pain evident in the tears welling up in his baby-blues. The band-aids on his inexplicably transparent forehead do nothing to stem the bleeding from what appears to be a serious throat injury.
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.”