Hello, and welcome to Monitors of Modern Art!
You can learn more about MOMA here, browse our various collections, experience an endless slideshow of our works, or look below for some highlights of the gallery's best works.
(Warning: This site is not for mobile users browsing on data. Our images are large, mostly uncompressed, and very data-intensive, so it is advised to view this website on a fast wi-fi connection.)
|
Newest Collection: BMMA4 - Bruised Monitors Modern Art 430 November 2020This week's new collection is BMMA4. Like its three predecessors, this collection is made up of monitors with a particular kind of defect: a bruise, a localized discoloration. They are on the scale of pixel art, but don't actually ontain any dead pixels, and thus tend to have more creative colorations and transformations, and more freeform designs. Starting off, Vague Dog is a silhouette of a tiny yapper, perhaps a small terrier, running forward gleefully. The depiction is indistinct, as it is borne of a bruise, but the coloration of the background helps to both indicate the direction of movement and to amplify the dog itself without being intrusive or distracting. Rifle Shape is a work very evocative of pixel art, without actually being pixel art. In terms of composition, it's very simple, an orange-outlined shape against a dirty yellow background, loosely tracing the silhouette of a hunting rifle. The Specters of Color uses a multitude of colors, which is unusual among Bruised monitors that tend to focus only on a few. Here, it creates a diamond contrasting blue, red, cyan, green, and yellow, radiating all away from a central point, and indicates a shadowy absence of that color in a level of gradualness that only a bruise can really achieve. Towards the right side of the work, the color is gradually siphoned away into nothingness, as can be seen by a thin trail leading to it from the nexus of color. Out of the Frying references the old adage, ending with "...and into the fire". The two creatures depicted in this work seem to be on the move, forwards and upwards. The coloration of the work overall implies a great heat, and in the top-right corner flecks of ash can even be seen - truly a perilous situation. And finally of note, Crinkle Residue is the most blatant use of its shading style in this gallery to date. Said shading style I will term 'prism shading', an advanced version of tissue-paper shading that uses entire geometric shapes, layering and collaging them on each other with hardly any rhyme or reason. This work is notable for this alone, though its composition otherwise is effective and abstract. Please enjoy! |
This work is overtly positive, mainly through its choice of palette. And yet, it remains somber, also partly through its choice of palette, as well as in structure as the negative space in the foreground seems to gaze into the distance. It also serves as a good example of a work that shines in its simplicity.
A fairly early work, Warp is one of the gallery's first instances of this sort of rough texture, and this texture still remains a rarity. A very abstract work, yet one with a definite measure of feeling behind it.
This work uses Moire to its fullest extent. A neon pulse comes from one edge of the image, breaking up and causing cracks in some structure. The pulse's light illuminates the colors and textures of the structure, displaying rough bits of color. This is one of the most fascinating works in MOMA's galleries, with a lot of depth and an inventive and fantastic image. There is a lot to ponder here.
This is one of this gallery's premier examples of stellar coloring, texturing, shading, and overall composition. The rough digital texture in the background allows for a uniquely graded style of gradient that the color choices only enhance; this shading style is used to give both an impression of depth and to imply how things are falling apart; especially when it transitions into a dithering fade as deep blackness consumes the area around it. The work's foreground is no less intense and detailed, its sharp and visceral shapes serving as a symbol of determination and resistance - those things hanging on in the midst of the calamity. There is a lot of potential symbolism to be found in this work.
This work is especially impressive for its flaky, almost pastel-gradient style of shading, and an oddly digital texture that manifests itself more and more closer to the center of the image. These features underscore an incredible transition from a dark red to a deep blue, step by step, in an elegant way.