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 is a panoramic view of the seldom visited Woman's Section of Easter Island, a tiny, isolated Polynesian island famous for its ancient stone figures, known as maoi.
Time and gravity have clearly taken their toll on this particular ancient statue.
A lone figure casts a long shadow as he strikes a defiant pose in front of the sun melting across the horizon. The heat is palpable, although it is unclear whether the perspective is due east or due west. In either case, the vultures hovering above make it evident that the future looks bleak for the subject of this desert landscape.
A heartening painting in which the lack of realism is compensated by a surplus of symbolism. The cloud caught in the branches of the most prominent deciduous tree confirms the artist’s vision of a world where dreams can be captured and landscapes tamed, if only you try hard enough.
The wild westerly wind that devastated this peaceful bucolic landscape was strong enough to denude mature trees, grossly distort fair weather clouds, rend the fur from a bison, bend a wrought iron weather vane, and induce panic in a basset hound whose ears and tongue point due east.
No detail, and indeed, no man is spared in this bellicose epic. Battle lines reach to the sky, where gun smoke feeds the fury of a storm, imminent in the heavens. Alleluia!
We don't need binoculars to predict which dreadnaught will be victorious in this nautical fray.
Various gargantuan fruits abound on this riotously colorful tree.
The young couple decided to take an extended lunch break on a private island where they would surely not be seen. We can see that that the world smiles on these lovers.
Snow capped peaks tower over this summer meadow featuring evergreens, wild flowers, and a waterfall of mysterious origin.
MOBA curators speculate the peak in the distance is probably Gorilla Mountain.
Blinded by the Northern Lights, a beautiful maiden wanders the coast nightly hoping for a glimpse of her lover's ship. It never occurs to her that he joined the Navy because he preferred the company of his fellow sailors.
Mauve madness transcends the trite with passion and agony too painful to behold. Passionate purple defines the despairing woman, the roiling sea, and the angry sky.
Accepted principles of perspective are challenged in this nautical scene with the smallest boats closest to the viewer, puffy clouds floating low in a dark sky, and a lemon-like sun setting over a beach that stretches to the horizon. Using a limited color palatte, the artist cleverly employed cloth sails, cotton clouds, sand on the beach, and globs of paint in the ocean to provide textural complexity to this bird's-eye seascape.
Perky Reubenesque clouds float in a cerulean sky.
Green alligator flames dominate the foreground and a bright pink sky provides the backdrop for this disquieting depiction of a color-altered future in which eggs, a renewable resource, have replaced traditional hydrocarbon fuels. The artist is saying, in no uncertain terms, that unless we learn to conserve our priceless resources, the yolk will be on us.
Viv combined media and techniques in this tropical scene. The dense finger-painted grass threatens to envelop the tiki hut and the palm tree, heavy with coconuts. Fluffy clouds float above, and the sea virtually shimmers. But where are the people? Who built this? Have they abandoned this paradise for the lure of the mysterious mountains across the sea?
Three trees are balanced precariously in a wheelbarrow, but the artist's straightforward optimism and good cheer assure us that the future is bright. Leaf colors, though unlikely, are intense; bluebirds circle though the trees; and the loaded wheelbarrow sits lightly on the grass. The artist's confident strokes convince us that all is well.
Once a sleepy backwater, Key West is threatened with overdevelopment since becoming a popular destination for sailing enthusiasts.
Two or more artists contributed to this work in which we are reminded, when walking the desert at night, to remain focused.
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.
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.
We see a surreal misandric image of giants on a bucolic outing.
While the significance of the cross in the background is unclear, 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.”