Sunday, January 3, 2016

Michael Meads at the Ogden Museum

Some art has to be seen in the right context. The occasional Michael Meads drawings I had encountered in the past suggested the work of a rural Southern Fellini who landed on Bourbon Street during carnival and had been hallucinating ever since. But this Ogden show puts his work in perspective with insightful arrangements of more and bigger drawings, and while his obsessive, orgiastic, roccoco psychedelic effects are still predominant, this selection in the museum's large contemporary gallery offers us an unexpectedly coherent overview where his flair for local color and classical mythology come together in a broadly cohesive melange. Although Meads' odd marriage of grand scale and obsessive minutia can still seem over the top, the result suggests a Cecil B. DeMille take on a south Louisiana Satyricon with detailing by a down home Alabama Aubrey Beardsley. We see as much in Grand Pageant of the Mystic Krewe of St. George, a mammoth drawing where a head rather like that of the late local artist, George Dureau, appears in a corner slyly surveying the chaos all around him--an appropriate homage to a legendary painter whose canvases suggested New Orleans characters as figures in a mythic opera. 

Drama and intrigue characterize most of these works, although the cast of thousands often causes them to blur into riotous tangles of sub-plots. In The Baptism, Nordic warriors, medieval royals and Victorian villains vie for dominance as the Louisiana Supreme Court building goes up in flames in the background. In Ghosts Along the Levee (top, detail), a marching group parades in the shadow of a vast skull amid demonic beings. Buffoonish and picaresque yet apocalyptic, Meads' drawings often  recall George Grosz's expressionistic Berlin grotesqueries while expressing related sensibilities with regard to the carnivalesque depravities that still characterize the human condition today. In his smaller drawings and photographs, he comes across like a surreal social realist, but it all adds up to a bravura performance from a unique artist who makes universal statements from homegrown local ingredients. ~Bookhardt / Michael Meads: Bent Not Broken, Through Feb 28, Ogden Museum of Southern Art, 925 Camp St., 539-9600.