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Newest Collection: MAAS - Modern Art Adventurous Situations


02 December 2019


This week's new collection is MAAS. While they may not necessarily be situations in progress, this collection portrays the entities, actions, and settings of adventure. Starting off, Blobby Lunge is a work of action, with a black figure moving upwards and at an angle, in motion and accelerating towards the pool on the right side of the image. The calm background, and right side of the image overall, contrasts the active left side, which helps even more to give the impression of motion. By contrast, A Builder Looks Upon the Built is calm and somewhat contemplative, and very deliberate. The work is split cleanly through the middle, with the bottom-left half being made up of vertical lines in a slightly jagged structure, and the top-right half being a peaceful green. The figure in the bottom-right corner looks out upon it all, gesturing with its hands as though it is responsible for it all. Protecting One's Style is certainly a stylized work, its background using a very distinct paper-tissue shading style and its foreground taking a more metallic approach. The work is characterized by moire, binding it a bit to the Ripple Wave archetype, and to tie the two styles together (or, rather, set them apart), the black figure at the top spreads protectively over its own style of shading, protecting it from the chaotic blueness behind it. Lab on a High Hill is detailed and sharp, using vertical lines to represent a structure and using the blue-tinged bulges beneath to represent the landscape, textured with nicks and scratches. The work's background is a haze of particles, separated by the foreground by an array of horizontal lines. This work's title is descriptive, but it does not give any indication of what happened to make this scene come to be, or what will happen in the future - but the image itself gives some clues, in the forebodingness of its various fixtures and idiosynchrocies. But my personal favorite work this week is Energizing Perspective, a rough-textured work using wide, faint bands in the background and a wiry, monochromatic foreground. The glare in the center of the structure at the right side of the image marks it as the focus of the figure on the hill in the center, with structure above and below that glare to mark it as a fixture, and perhaps as a goal. The work's color scheme, swapping between dark red and greenish-yellow, is most of all what gives it its mood. Please enjoy!

MMMA >

WET WINDOW


This work, though not at all new, is notable for being completely unique among all the other works in this gallery in its texture. While most works have more defined changes in color, or more digital feels, the rounded, almost blurred and genuinely watery-looking contours, color changes, and light refractions make this work truly one-of-a-kind.

VMA >

SAPPHIRIC MAGESTY


This is a good example of a work with a cohesive texture that allows it to utilize complimentary colors in close proximity to each other. Incorporating the whole trinity of red, blue, and yellow, and using a combination of vertical and horizontal lines (and the absence thereof) to define the depth of various parts of the image, make this an excellent composition.

PMAS >

MEMORY HILL


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.

DWMA >

ELYSIUM OF GEOMETRY


This work is the premier work of its style - tissue-paper shading, as I call it - in this entire gallery. Pleasantly abstract, this work is not without uniqueness and charm in its relative simplicity.

OMA >

DEEP POND


Why are ponds green? I dunno. But then, sometimes you just have to jump in, and maybe it'll make sense. This was the first work ever uploaded to Monitors of Modern Art, and serves as a strong start by presenting a simple, meaningful metaphor.