Museum of Bad Art

Discovering the Museum of Bad Art (MOBA)

The Museum of Bad Art (MOBA) is a privately owned museum that celebrates art too bad to be ignored. Founded in 1993 by Scott Wilson and Jerry Reilly, it features over 700 pieces, with 25-35 on display at any time. The collection includes original works with serious intent but significant flaws. MOBA has gained international attention, featured in guides, newspapers, and magazines, and inspired other collections worldwide.

Why ‘Bad Art’?

The question arises: why celebrate art that is considered bad? Isn’t it a contradiction to honor imperfection? But isn’t the beauty of MOBA precisely in its ability to challenge our perceptions of what constitutes good or bad art? The founders argue that their collection honors artists who persevered despite failures, and that these pieces serve as a reminder that there’s nothing to be afraid of—just go for it.

Exhibitions and Popularity

In an exhibition titled ‘Awash in Bad Art,’ pieces from MOBA’s collection were covered in shrink wrap for a drive-thru museum and car wash. The group features rotating collections of artworks labeled as ‘bad art’ in galleries across the US. In 2003, ‘Freaks of Nature’ focused on landscape artwork gone awry, while ‘Hackneyed Portraits’ was designed to fill a gap left by a David Hockney show at Boston’s Museum of Fine Arts.

Locations and Exhibitions

The Museum of Bad Art has locations in Massachusetts and has held exhibitions in New York City, Ottawa, Taipei, and Virginia. The group aims to ‘take bad art on the road.’ In 2009, MOBA raised funds for the Rose Art Museum by selling artworks on eBay. The museum has since expanded to new locations but was forced to close due to the COVID-19 pandemic.

Security and Notable Incidents

The loss of two MOBA works, including a painting titled Eileen, has drawn media attention and increased the museum’s reputation. The Boston Police investigated the theft of Eileen, a painting, and found no link to a notorious heist at the Isabella Stewart Gardner Museum in 1990. In 2004, a fake video camera was installed to deter future thefts, and Rebecca Harris’ Self Portrait as a Drainpipe was removed and replaced with a ransom note demanding $10, which was later returned with a $10 donation.

Curatorial Standards

The Museum of Bad Art has strict standards for accepting works, prioritizing sincerity and intent over artistic skill or commercial value. Curators look for artworks that are compelling but imperfect, and reject pieces like black velvet paintings or paint-by-numbers. MOBA’s focus on celebrating the artist’s enthusiasm has led to accusations of being anti-art, but its director argues it is a positive encouragement for artists who want to create [and] are held back by fear.

Public Engagement

Louise Reilly Sacco agreed, stating, ‘If we’re making fun of something, it’s the art community, not the artists. But this is a real museum. It’s 10 years. It’s 6,000 people on a mailing list. It’s recognition all over the world.’ Curators insist that artists whose works are selected by MOBA enjoy the attention and that it is a win-win; the museum gains another work of art, and the artist receives exposure in a museum.

Artworks and Descriptions

Many of the works in MOBA are donated, often by the artists themselves. Others come from yard sales or thrift stores; the Trash Collectors Union in Cambridge, Massachusetts, has donated works rescued from imminent demise. Each painting or sculpture MOBA exhibits is accompanied by a brief description of the medium, size, name of the artist, as well as how the piece was acquired, and an analysis of the work’s possible intention or symbolism.

Lucy in the Field with Flowers (oil on canvas by Unknown; acquired from trash in Boston) remains a favorite with the news media and patrons. Kate Swoger of The Montreal Gazette called Lucy a ‘gorgeous mistake,’ describing her as ‘an elderly woman dancing in a lush spring field, sagging breasts flopping willy-nilly, as she inexplicably seems to hold a red chair to her behind with one hand and a clutch of daisies in the other.’

MOBA’s statement about Lucy reads: ‘The motion, the chair, the sway of her breast, the subtle hues of the sky, the expression on her face—every detail combines to create this transcendent and compelling portrait, every detail cries out ‘masterpiece”.

Conclusion

The Museum of Bad Art (MOBA) challenges our perceptions and celebrates the artist’s enthusiasm. By embracing imperfection, MOBA encourages artists to take risks without fear. It’s a reminder that sometimes, it’s not about perfection but about the journey and the joy in creation. So, next time you visit, perhaps you’ll find yourself laughing and thinking deeply about what art truly means.