<\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n \n<\/p>\nHow did your association with Kenneth Anger begin? \u00a0<\/strong> \nWith \u2018Hollywood Babylon\u2019 being the international classic that it has been over the last few decades, that book was my and countless others\u2019 first introduction to Kenneth Anger and his mordant wit. Anger was doing a world tour in 1993 with a stop in Auckland, New Zealand, where i was a student at the time studying art history, and masters film studies with Roger Horrocks, Len Lye\u2019s biographer. The fabulous civic theater hosted a memorable screening of Anger\u2019s masterwork \u2018The Magick Lantern Cycle,\u2019 and after standing in a long line of die-hard fans, he signed my black notebook with a silver marker I\u2019d brought along. Professor Horrocks had just introduced us to the radical film work of the American avant-garde, which is really foundational for film studies globally, and I almost levitated when I saw \u2018Scorpio Rising\u2019 for the first time (you see I am a Scorpio, and my birthday is on Halloween. Ha!) But on an aesthetic and very visceral level, it was a profound experience. The years passed, I became a Curator and Art Writer, lived in New York, London and moved to Los Angeles in 1998 as Associate Director and Curator for Ace Gallery. In 2003 I proposed writing a feature on Kenneth Anger looking at his influence on contemporary artists who\u2019d adopted the moving image as their medium, for the LA-London journal \u2018After all,\u2019 which provided the occasion to interview him in person. Again, the occasion was so memorable \u2013 meeting at the Chateau Marmont on Sunset Blvd. Under a large Christmas tree; and there\u00a0I met\u00a0this most charming, gracious, interesting, and witty gentleman. I was completely overcome\u2026 he allowed me to produce the first new color frame enlargements from his films. The \u2018Scorpio Rising\u2019 image was then on the cover\u2026 \u00a0 <\/p>\nDescribe anger in 5 words. <\/strong> \nThe five letters of his name, or in seven letters: THELEMA<\/p>\nCan you divulge what his latest project, \u201cUniform Attraction\u201d is about? \u00a0 <\/strong> \nRather than give you my 7-page draft on this substantial new (2008) film (there wasn\u2019t room in the new book for it either), a few summary thoughts here may not necessarily reflect those of the filmmaker or other viewers. The men in uniforms are reminiscent of his 1947 classic \u201cFireworks,\u201d and indeed the iconic image of the sailor makes prevalent present military economy- very cleverly co-opting TV recruitment propaganda for the marines into self-reflexive critique. The dramatic TV commercials are so theatrical, (even having Kenneth Anger-inspired fast cut editing) and over-produced, they almost seem to aspire to \u201ctriumph of the will.\u201d The \u201cpatriotic pencils\u201d which are emblazoned with the Statue of Liberty and the stars and stripes- made in china- encapsulates our world in one ironic image\u2026an explosive ending too.<\/p>\nWhy did you think a book about Anger was important? <\/strong> \nThere were two small books in french written on Kenneth Anger in homage, Pierre Hecker is an author in Paris whom I met, and he was incredibly generous to send me copies of his anger correspondence from the Cinematheque Francais and other French archives from Kenneth\u2019s decade in Paris in the 1950s. Some of these letters and press clippings are in the book, with my translations. Celebrated contemporary film director Olivier Assayas also wrote a beautifully written book on Anger, quite passionate in fact, which i also referred to, translated from and quoted in my book. With Robert Haller\u2019s early small monograph of 1980 (which was really the primary source for discussion of \u2018lucifer rising\u2019), a great British film institute publication and \u2018Moonchild\u2019 were precursors. And yet none had consulted Kenneth in regard to doing a book. As Kenneth had allowed me to make new frame enlargements from his films, many for the first time in color, a visual publication with his cooperation, was a first. His images became central. It was about acknowledging his influence in an art context, moreover, not solely his foundational status as a pioneering filmmaker. \u00a0 \u00a0 <\/p>\nHow does Anger influence \/ inspire you in everyday life? \u00a0 <\/strong> \nKenneth Anger introduced me to profound knowledge, the understanding of which is a work in progress. \u00a0 <\/p>\nWhat is your favourite or most relevant piece that Anger has done? \u00a0 <\/strong> \n\u2018Scorpio Rising\u2019 …And \u2018Puce Moment\u2019 …And \u2018Invocation of My Demon Brother\u2019 … \u2013 But if only we could find his very early work from the 1940s, like \u2018Drastic Demise,\u2019 and also\u00a0the lost\u00a0documentary he made for English TV on Thelema Abbey in the 1950s…\u00a0Maybe this will provide an opportunity for\u00a0someone in London to finally track it down. <\/p>\nInterview by Eunice Jera Lee<\/p>\n","protected":false},"excerpt":{"rendered":"
Alice Hutchison’s book on filmmaker, Kenneth Anger is revised and revisted in a new edition, published by Black Dog this month. Here the author discusses her relationship with Anger, and his influence on her work. She has also shared with us previously unpublished images of Kenneth Anger by portraitist Don Bachardy, Christopher Isherwood’s long-time partner.<\/p>\n","protected":false},"author":4,"featured_media":1922,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"gallery","meta":{"footnotes":""},"categories":[9416],"tags":[811,84,812,460,50,810],"acf":[],"yoast_head":"\n
Kenneth Anger Revisited | Wonderland<\/title>\n \n \n \n \n \n \n \n \n \n \n \n \n \n\t \n\t \n\t \n \n \n \n \n \n\t \n\t \n\t \n