In 2013, visitors to the Orange County Museum of Art (OCMA) in Newport Beach, California, were greeted by an unusual sight — a 28-foot-tall black Labrador mid-act, lifting its leg and spraying a stream of yellow paint onto the museum wall. The massive sculpture, titled “Bad Dog,” was the work of American artist Richard Jackson, known for his bold and humorous approach to contemporary art.
The installation was part of Jackson’s exhibition, “Ain’t Painting a Pain,” which explored the boundaries of art, color, and absurdity. In his typical tongue-in-cheek fashion, Jackson used “Bad Dog” to blur the line between playfulness and provocation — turning a mischievous moment into a powerful piece of commentary on the act of creation itself.
Standing tall beside the museum, the sculpture appeared both comical and rebellious, as if mocking the seriousness of the art world. But beyond the humor, Jackson’s work asked a deeper question: What really defines art — the image, the act, or the reaction it inspires?
Though the installation was temporary and has since been removed, “Bad Dog” left a lasting impression on visitors and became one of the most talked-about pieces of public art in California that year.
As one critic put it, “Richard Jackson doesn’t just make you look at art — he makes you laugh at it, and then think twice.”
