BAD ART FOR A BEAUTIFUL DAY

One of my favorite online sources for art is The Museum of Bad Art, which actually physically exists in Dedham, MA. Once in a while art comes along which is so incredibly bad as to be genius. And the curators at MOBA write such brilliant text for the work that I go check the site often to see what new art reviews they have posted. Because I aspire to one day making a piece that will make it past their jury, I have added my own contribution at the end, from my lab safety supply catalog.

PORTRAITURE #10
Peter the Kitty

Oil on board by Mrs. Jackson
10.5″x7″. Acquired from Salvation Army Thrift Store, Hyde Park by Scott Wilson

Stirring in its portrayal of feline angst. Is Peter hungry or contemplating his place in a hungry world? The artist has evoked both hopelessness and glee with his irrational use of negative space.

PORTRAITURE #3
Mama and Babe

Acrylic on canvas by Sarah Irani, 1995. 24″x30″. Donated by the artist

The flesh tones bring to mind the top shelf liqueurs of a border bistro. With an astonishing emphasis on facial bone structure, the artist flirts with caricature and captures features of Mamma’s face which remind us of a former First Lady. The upright marionettish pose of the babe hints that the early bond between mother and child is as formal as it is familiar. Good old-fashioned parental respect is at the center of this celebration of color and contour.

LANDSCAPE #6
Dog

Acrylic on canvas by Unknown
Donated by Elizabeth and Sorn Poeckle, Copenhagen, Denmark

A remarkable fusion of ski resort and wolf puppy — stoical in his yellow-eyed silence, frozen beneath the ice-capped peak, “Dog” eloquently challenges the viewer to reexamine old concepts of landscape.

ASSEMBLAGE #9
The Futility of Man

Insulated Glove, Air, Inflator, Hook and Pile, O-ring
18″x22″
Found in my Lab Safety Supply Catalog

The glove seems to signify the futility of man in its yearning posture, bleak visage and robotic yet anguished, splayed fingers. Clearly an homage to the dark side of the human psyche, the G-99 inflator looms menacingly nearby, tilted inquisitively toward the glove yet simultaneously apathetic to the plight of the glove. The G-99 strings signify its own struggle against the bondage of its physical being and its unwillingness to acknowledge its own capacity for empathy, exploring instead its inner voyeuristic leaning toward predatory opportunism.

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