BAMOO's Board of Trustees, February 2010

[via]

At the BAMOO Board of Trustee's February Meeting, a motion was passed to thank each of you, our dear Bad Art patrons, for your support.  We hope you will join again for more bad art next month!

I Got The Mime in Me

I Got The Mime in Me

A. Fishman, signed artist
Freshman Art -Section 7-6 (Acrylic on Canvas 16"X20")
ca. 1979
Clownism, Mimeism

Speaking the universal language of teen alienation, this work explores the duality of the personea. It asks "are we 'young adults' as the library reading selections tell us we are, or old mustached men in these formative years?"


Yet Fishman's work also speaks volumes to each who see it and experience its cathartic questioning: Are our performances in the "theatre of human pathos" that of mere mortals performing stationary tasks as mute players in a grander scheme? Or are we all - behind closed doors and free of the invisible boxes that constrict our daily lives - pariahs yearning to communicate what we are otherwise inarticulate to say?

 
Bad Art Disclosure & Fine Print: Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity with the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2004, the Bad Art Museum of Ohio.

Christee, The Clown

Christee, The Clown

Attributed to M. Cook

Acrylic on stretch canvas

ca. 1975

Clownism, Religious Art

Christee's message is not that the circus is a place for fun, or for terror, but that He Lives, and explained in Christee's eyes which proselytize the good word.  Also hidden on Christee's face are any number of other messages ("Church is good" "Eat Your Vegetables"), etcetera and so on.  Christee joins the pantheon of religious art (the Sisteine Chapel, and other works) to tell the story of faith to the faithless and to reaffirm the smug and the saved.

However the real controversy behind Christee is the change that artist M. Cook's signature on this work has been forged by a possuer.  As such, and until the artist identifies his/herself, the work will be considered one bathed as much in controversy as it is in the light of Gee-sus.

Bad Art Disclosure & Fine Print: Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

Pennywise, But Pound Foolish

Pennywise, But Pound Foolish

L Kenny, Artist (Oil on Stretched Canvas 15"X11") ca. 1965

And what child wouldn't want to wake up to this each day, with its sunny background and vivid use of the color wheel?

But so soon enough, Junior (or Princess) will know the horror that begins as innocently as a day at the circus, only to have the myth of the circus clown, King of the Happy-go-Lucky Buffoons evolve into a dark and menacing specter intent on retribution. The most compelling feature is Kenny's use of a jack-o-lantern mouth which helps to project the angst of the moment.

After all, everyone loves clowns, RIGHT?

Bad Art Disclosure & Fine Print: Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

Le Clown, Marcel

Le Clown, Marcel
Unknown, ca. 1970

Acrylic on Stretch Canvas

Abtsract Hitchcock-Clownism

With Marcel we see the clown as the French would say, who is la needie.  Not le clown as Jerry Lewis would be le clown.  For that would be Le Clown Jerry Lewis, and this is Le Clown, Marcel.  But Marcel is a needful thing and he must be saved by you, or we all will die a death of deaths.  Plaintiff in his desire, Marcel does not beg for you attenion, he commands it, against a background that makes this work as dizzying, yet improbable.  Yet here you are, and here is Marcel. Life is a funny thing, no?  We say "yes, quite."

Bad Art Disclosure & Fine Print: Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2000, the Bad Art Museum of Ohio.

Clowns of Giverny

Clowns of Giverny


Artist: Monnet

Date: Undocumented

Oil on Canvas (16"X24")

Style: Big Top Attributionsm, Clownism

Faces of everyone's favorite, the clown.  These two, like the classic forms of tragedy and comedy, convey the two types of clowning - that of the happy-go-lucky performer on the left and that of the person who uses his make as a mask so that the world will never see him crying, on the right.  Laugh clown. Indeed; laugh.

Speculation places this work after the exhaustion of Claude Monet's water lily fad expressed in the master's more renown works, and well beyond the noted artists death. The brush strokes are unlike any documented within the catalog of his works. Stylistically, the facial make-up of the subjects displaces them from the artists continent of livelihood. Still, the signature -- sporting its superfluous "N"-- is nothing more then a thinly veiled attempt to mask the true identity of the artist by a thinly veiled direct association, leading BAMOO's staff art historians to attribute this to some other artist's famed starvation period.

While it is not the practice of the Bad Art Museum of Ohio to accept such a work unless there is documented proof that its starving artist actually starved in a garret while painting the work in question, BAMOO did accept this piece because of its symbolism of an artist struggling to overcome the demons at work on creative self.



Joined BAMOO Collection 8-2000


Bad Art Disclosure & Fine Print: Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

A Message from our Esteemed Director: IT'S CLOWN WEEK!

Because winter has taken it toll on our senses, and the cold dark nights have heighthened our senses of how alone we are at this time of the year, how sound travels on a cold dark night and sometimes our greatest fears seem only as far away as the closest dark room, BAMOO would like to bring some joy to your life by presenting nothing but images of those happy go lucky fellows who live to bring nothing but joy: CLOWNS!

Today through Friday, BAMOO is setting up its Big Top and Presenting:

After All: Everybody Loves Clowns, Right? 

Each day will bring a new Clown to set your mind aflame with ideas and thoughts!

So sit back and enjoy this special show, just for you!

Lesson Three: If we say its bad, its bad, period.

For this lesson, let us explore the concept that as a Bad Art aficionado, one finds a work of Bad Art not to be "bad", but in fact finds it good.  "That isn't bad - I' kinda of like it." is something that we often hear in the galleries of BAMOO's spacious museum.  What is one experiencing?

One is experiencing Bad Art with honest emotions - simply because something is "bad" does not mean that it is an offense to every set of eyes in the world.  There is no shame in loving Bad Art - we do it every day.

The shame, however is in thinking that because one loves a work of Bad Art that it is not bad, just misunderstood.  In this instance, the uneducated person who is not in tune with his or her honesty, feels That they have some sort of magical power within to redeem Bad Art into something legitimate.  This is a fallacy and one is mistaken if one thinks this.  One's taste is never as flawless as one thinks, unless one is objective and admits that in order to love that which is truly beautiful, one must also love that which is honestly bad.

To be honest with one's self is to admit that something can be deemed as "bad" and to love it as "bad" is a good thing.  One feel not guilty for loving bad art.  One only need feel guilty for loving that which is bland or mediocre, like Michael Bolton , or Wal-Mart, or even melba toast (unless it is a man in a dress performing ballads on stage as 'Melba Toast', "The Artiste Supreme!") - that is really an admission that one has settled for less, rather than more.

Sincerely,

The Esteemed Director

My Love For You is Like An Etch-A-Sketch

My Love for You is Like an Etch-A-Sketch

Unknown, Artist (Acrylic on Plywood 20X30")

1990's - Franticism

Unknown explores the raw proto-realism of the 1990's in this ode to the root of bad art, the Etch-A-Sketch. While the nude form only occupies the far right of the picture, one wonders on what astral plane she floats while her nervous aura communicates a frantic energy wave into the vapor that is space.

"My Love for You is Like an Etch-A-Sketch" is an historic artifact in the world of Bad Art. Unknown's work was declared an instant masterpiece by the Esteemed Director of the mothership of Bad Art, the Musuem of Bad Art (MOBA) in Dedham, Massachusetts. The work led to the formation of AFBAM (The American Federation of Bad Art Museums) and an immediate agreement was reached, the painting shipped to Dedham where it became part of MOBA's art show of nudes in a greater Boston healthclub.
 
Bad Art Disclosure & Fine Print: Believe it or not, all of the original works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

Forest For the Trees

Trees for the Forest


Artist: Jennifer Connolly

Tempera on Watercolor Stock (16"X24")

Brutalism, Kindergardenism

Stickly trees, scorched by winter's cold, capture puffy storm clouds within their tendril-like branches seeking to express the interlocking relationships of earth to sky (and sky to earth) while the childlike representationalism explores the meaning of these contextual relationships.  In doing so, they demand that they will not be ignored, even by shapeshifting watervapor.

Making this work even more compelling is that the artist has chosen a simple medium which has been cleverly employed on paper stock not usually used in this style.  Deeper explanations merely obfuscate the primitive forms, and their actions, rendering those explanations pithy and hyperbolized.

Joined the BAMOO Collection 7-2000

Bad Art Disclosure & Fine Print: Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

Leg Stretch Girl

Leg Stretch Girl

Artist: Tonya
Watercolor on Paper (9"X12")

Exorcism

Spindly spider-like legs - one raised in triumph and restrained by a Fettuccine strap, with the other leg is left lying like an unused snapped appendage sacrificed in the name of Yoga purity, and hair volumized to imply activity, - mark the dominant features this Goya-esque homage to what was hoped would be the Cosmo-girl for the 1980s.

Joined BAMOO Collection 8-2000


Bad Art Disclosure & Fine Print: Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

Happy Valentines Day From BAMOO

Lavender Behind

Artist: Jan   Acrylic on Board (16"X20")  Romantic Tones of Lavender Accented in Black

Tri-Saphoism / Lesbianism - Rococco

Lavender Behind Artist "Jan" relies upon the subtle trinity of monochromic hues, repetitive shapes and a portion of the human form, to achieve the pure bad art goal of objectifying the object. Hearts randomly abound like Birkenstocks in a Michigan field during August; their meaning a metaphor for the rampant and unspoken desire that dare not speak its name. Viva la Papillon d' Amour!

In an interesting and unwomynly turn of events, the artist signs her name inside a heart with the unabashed zeal usually seen high school students who dots their "i" with open circles; Too cute!

Joined BAMOO Collection 8-2000.  A gift from an anonymous dumster proximate to The Ohio State University

Bad Art Disclosure & Fine Print: Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.


We will return with more Bad Art on Febraury 16, 2010.

BAMOO - Wordled

What does BAMOO mean to you?

Have a great weekend.  See you Monday!

Lesson Two: Who decides if its bad?

In our last lesson we discussed how the Art Establishment isn't what it thinks that is.  With this matter cleared up, we'll discuss how art should be fun.

For far too long art has been a serious, serious affair. And we in the Bad Art movement believe that this seriousness has stifled an appreciation of art. As a result, people feel intimidated by art instead of "feeling" the art.

Art should illicit any number of reactions. And those reactions are honest as long as one allows themselves to react honestly. Now spitting at the Mona Lisa will get you arrested, but if it causes you to laugh aloud who is to say that this reaction is improper?

And so it is with Bad Art, which has been deemed such by a group of people who claim to be authorities in the matter. They have looked at a piece of art and they have reacted honestly to it and have called it bad for any number of reasons.

Earlier in the wee a work entitled Oodles the Three Legged Poodle debuted on this blog. It was certainly not the intent of the artist to paint a bad painting of Oodles. She probably went at it with the best of intentions, but something went horribly wrong, either in her perception or in her execution. What was clearly a piece of tribute art for a beloved pet is something altogether different in the end result. In the partitioning Oodles is pestered by two large blue balls, has a brassiere shaped patch of fur and three legs. The crowning glory is that Miller indicates through Oodles eyes that he is fearful of the those big blue balls.

So if Bad Art is defined as the best of intentions gone horribly wrong, shouldn't some good from it? If it brings a smile to your face, or makes you stop and consider all that is going on (or not going on) - if seeing this painting as Bad Art makes you appreciate it, then its not a failure - it is eliciting a response, and therefore it is a success.

Thus Bad Art frees you to look at a painting or sculpture and honestly say "its Bad Art and I'm not ashamed to say so."

Our next posting will be this coming Monday.

Yours in Bad Art,

The Esteemed Director, BAMOO

Oodles the Three Legged Poodle

Oodles, the Three Legged Poodle

Ellen Miller, Artist (Oil on Canvas 24"X37") pre-1980


Animal Tribute School of Painting

Oodles represents all that vexes mankind. Paranoid and caught in the roulette wheel of life, artist Ellen Miller communicates that life is a crap shoot, and running is futile -- especially when one has three, not four legs, is blessed with a bra shaped patch of hair on ones chest and is at the same time tormented by giant blue balls.

Oodles, the Three Legged Poodle, Detail


Upon closer inspection, Oodles is vexed as his (or her) eyes convey.


Oodles, the Three Legged Poodle was one of several BAMOO works to receive international media recognition in 1999.


Bad Art Disclosure & Fine Print:  Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text, or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

Owl Be Seeing Ya'


Artist: Matson, ca. 1960's Acrylic on Board (16"X20") Joined BAMOO Collection 1-2000

Trailerism School of Art

Conjoined owls cower hypnotically in the midst of an explosion of Halloween surrealism.

Matson's use of the color orange is so subtle yet needful that it literally sucks the rational thoughts out of one's head compelling one to take it home and hang it on the wall without really knowing why.

Bad Art Disclosure & Fine Print:  Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

Still Life with Snoutless Dog

Still Life With Snoutless Dog


Unknown, Artist (Acrylic on Art Board; 20"X 16") ca. 1960 -- BAMOO Permanent Collection

This marks BAMOO's first official acquisition by the noted, and prolific artist, Unknown. 'Still Life with Snoutless Dog' was intended to be a study in relationships by the very nature of the ubiquitous planter, decanter and lap dog -- all of which are common everyday items found on table tops everywhere.  

Detail from 'Still Life with Snoutless Dog' ->

Details, such as the ones found in the ears, tail & rear thigh and facial cavity have helped to propel Still Life with Snoutless Dog to BAMOO's most talked about work of bad art.

Unknown's mastery of negative space -- offset by a festive dog collar -- in place of the familiar snout compels one to wonder what one would find inside the facial void.

Like all of Unknown's art, this work is unsigned, thus making it an authentic work by one of the most mysterious arts of our epoch.

BAMOO is pleased to point out that Still Life with Snoutless Dog received international acclaim in 1999 when it was compared to Robert Maplethrope's works by Cincinnati Enquirer columnist Laura Pulfer.  We are honored, as we know Mr. Maplethrope is was would have been as well at the comparision.

In honor of this honor "Fritzie" as he has been named, is the offical mascot of BAMOO.


Bad Art Disclosure & Fine Print:  Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2009, the Bad Art Museum of Ohio.

Desire & Repulsion

Desire & Repulsion

Edna Martin, Artist (Oil on Board 21"X13")


Martin's work begs the question why does the fickle young Pollyanna anxiously attract that which she will discard and ultimately kill? The subject at once beckons one pigeon to alight on her finger while swatting a former love dove from her lap. One wonders if the dark bird to the right, which is left to bleed, is suffering the consequence of not being swift enough to escape? 

As disclosed on the back of this work, Artist Martin copied this work in a flat folk art style, painting from a 'Victorian' print, creating an incongruent work of intent versus outcome.

Note: This work was discovered outside a southern Ohio resale shop with a price of $10. While it is not the practice of BAMOO to pay such a high price for a work of this caliber, closer inspection of the tag indicated that the price was not for the art, but for the 'nice old frame'.

Bad Art Disclosure & Fine Print:  Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

Lesson One: The Art Establishment

Today, after four works have been presented we instead focus on the theory behind Bad Art, and who decides what is and what is not, Bad Art.

By its very nature, the Art Establishment is not an actual establishment because organizing non-performing artists is a lot like herding cats, ergo, there can never be a true "art establishment".

As such those that form the art establishment are a bunch of self appointed elitists who exist to set the bar for what is good art, and what is everything else.  These people mock the average person on the street.  They look down their noses at the common man and woman on the street and pity them because they are certain that said people could never have the level of such exquisite tatse that they have convinced themselves that they have. 

And to these people, art is serious business.  Dreadfully serious.  So serious that art show openings have come to resemble calling hours at a funeral home, with everyone wearing black and pondering their own fate as they look at art that they may or may not like and wonder what the hell they are suppossed to be feeling at that moment.  If at a showing of a portraitists work, one will also hear the words most often heard in funeral homes: "He/She looks so life like."

But let's be honest with ourselves.  We've been to art shows and we've looked at the paintings and sculptures on display and we've said to our selves, under our breath, "I don't like it," and "It's not anything I would want in my house."  And then we just about have a heart attack when we discover that I Don't Like It is priced at more money than most of make in a year.

What these boring, and very bourgeois people forget is that art is in the eye of the beholder. 

The "Art Establishment" also don't understand that the man or woman on the street know what they like, and know what they feel is junk.   There are people out there who don't get Picasso, and never will because they think its a something Mexican that one pours over meat that gives them bad dreams at night.  To these people, a $50 starving artist paiting that goes with the davenport is more important than Jackson Pollack every did because everything that Pollack painted looks like the drop cloth after painting thier bathroom pink with purple polka dots.  And that's good enough for those people.  It may not be for you or I, but for them, thats just fine, because they have the right to love the things around them.  And you should be OK with that because it means you get to love the things that you love and think that Jackson Pollack is just fine if thats is your cup-o-tea.  But it also means that you get to look at piece of real honest to goodness art and say "Jesus! That's ugly!"  Its all good.

And if you are OK with that idea, that just drives the Art Establishment crazy.  And that is a very good thing - as this is the first step in truly be able to be honest about how art makes us feel.

So if they can do what they do, why can't we - Bad Art establishment do what we do: call them as we see them?

Our next posting of Bad Art will be this coming Monday.  Stay tuned!


Yours in Bad Art,

The Esteemed Director, BAMOO


NEXT WEEK: Who decides what bad, and why that's good.

Ball By the Horns

Ball by the Horns

Undecipherable, Artist (Air Brush on Cotton Scrim 18"X24") ca. 1960's
A gift to BAMOO by the mother of the Esteemed  Director who discovered it in the Salvation Army Store in Marion, Ohio.

In this work, we are transported an empty arena to witness the raw energy of the fight, with the charging bull against the handsome matador, whose leg is erect and rigid.
However, while it may have been the intent of the artist to capture the raw emotion of the bullfight and the delicate moves such as the thrusting of the Bullfighter's hips, the artist instead exposed every bullfighters worst fear -- XYZ!

NOTE: Several bad art aficionados claim that this work also reveals another part of the male anatomy -- visible in the matador pant leg, see detail, below.

Ball by the Horns, DETAIL - Bad Art experts agree that while one can accidentally overindulge upon on a particular work of bad art in its creation, doing so with an air brush requires some skill and forethought, especially when elliptical, or "egg like" shapes are, shall we say, manifested?  What is the artist trying to tell us?

Bad Art Disclosure & Fine Print: Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

Forever Umber

Forever Umber


Artist: Unknown, Oil on Canvas, 18X24

We see here, the prolific artist Unknown's attempt to address a pensive nude form...almost masculine in its shape, feminine in its hair style, and placed the figurine knee deep in a Freudian metaphore of umber paint laid thick, smattered and puckered, which lifts from the canvas to us as if to say "we are all mired in our own excretment, no?.  No, indeed.

Bad Art Disclosure & Fine Print:  Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

Dear BAMOO,

Dear BAMOO,

We were visiting today and noticed the Notice of Copyright.  What does that mean?

Just sign me,

Curious in Fostoria

Dear Fostoria,

It is an unfortunate bit-o-business, but because BAMOO owns the works, we also own the rights to their use for use on products.  Therefore we have to put the wording in lest anyone - inlcuding a certain nation of many, many people who are notorious for copyright infringements  - decide that they want to open a Bad Art Museum of their own and try and use our works.  We doubt we would have a snow flakes chance in Aruba of winning any litigation, but we have to protect the integrity of our Bar Art and its use.

Yours in Bad Art,

The Esteemed Director, BAMOO

If you have questions regarding Bad Art, find our emial on this page and send us a note.  We'll consider the validity of your question, assign four or five Art History majors to it, and get back to you when we can!

Revenuers!

Revenuers!

Artist: Disputed (Acrylic on Art Board 16"X20")

Date: Undocumented

A clear discussion of Revenuers! can not begin until the controversy over its origins is settled. Evolutionists are convinced that work is of two artists, one building upon the weaker art of another. Creationists believe that work is clearly the creation of one artist who is attempting to convert their style from representational to abstract.

In 49 of the United States, this painting is viewed as a landscape with obtuse elements; In the state of Kansas, it is taught as the literal truth.


Bad Art Disclosure & Fine Print:  Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.

Can-Can Kabuki

Can Can Kabuki


V. Laszlo, Artist
(Acrylic on Art Board; 16" X 20")
ca. 1960
60sism School of Art
BAMOO Permanent Collection

The use of bold colors heightens the festive nature of this Eurasian melding of the traditionally reserved & conservative Kabuki art theatre form and the brash, no holds sexuality of Paris during the Fin de siecle . Laszlo imagines this strutting and saucy dancer in full Kabuki traditional make-up as evident in her ghostly white thigh. The dancer's face is fixated on an imagined audience member and conveys that as she raises her skirt, not for you, but for the wealthy Monsieur who will "come hither" her after the club closes that night.

CCK holds a special place in the Esteemed Directors heart - it was the first truly bad pieces we acquired way back in 1998.

Bad Art Disclosure Fine Print:  Believe it or not, all of the works featured in this web site are the property of BAMOO, a non-profit, non-asset, non-organization which controls their use, intended or otherwise. As such, any unauthorized use of our works, text or design by any person, organization or entity without the express written permission of BAMOO runs the risk of being contacted by our attorney --who really hates people who take things that aren't theirs or at least given to them. If you would like to use a part of this site, please contact BAMOO via email at obadartg@aol.com and allow us to review your intended use. Accessing any pages, works of bad art (or otherwise contained in this site) constitutes your acceptance of these terms -- something that we will point out to the courts in the unfortunate situation that we have to go after you -- and we will --for using our materials. That being said, copyright 2010, the Bad Art Museum of Ohio.