“Icons” explores Kenneth Anger’s cinematic exploits

The title “One of the most original filmmakers of postwar American cinema” isn’t something that you gain by making predictable, safe films.

Interestingly enough, American filmmaker Kenneth Anger gained that reputation through the production of short films. His influential work from the 1940s to the 1980s, some of which inspired directors such as Martin Scorcese and David Lynch, is currently on display at the Museum of Contemporary Art “Icons” exhibition. At times confusing, at times thrilling and always unpredictable, the small exhibition is a surprisingly thorough look into Anger’s work and the era in which he created his pieces.

Viewers are initially greeted by a large neon, Plexiglas piece with a metal mouth on a wall and the words “Hollywood Babylon” on them. The piece instantly sets the tone; Hollywood Babylon is the title of Anger’s book, a collection of celebrity scandal stories. Even if you don’t know that walking in, the giant lips and bright neon colors automatically link you to the flashy side of Hollywood and hint at Anger’s penchant for the intriguing and theatrical.

Before you see any of Anger’s actual videos, a room is dedicated to other interesting relics from his working era. Clustered on a wall is everything from tabloid and film magazine covers to pictures of famous and not-so-famous stars. The pieces somehow fit into a wall and visitors can pick up a laminated map for exploring the exhibition. Unfortunately, the wall is packed with pieces, often making it difficult to pinpoint a certain piece on the sheet provided by the museum.

Nevertheless, some pieces are easily recognizable on the paper and are interesting to note in the collection. Among these exists a painting by silent film star Billie Dove and a small lamp on a shelf described as a sheikh collector’s boudoir lamp.

The exhibition also includes items in glass cases, including scrapbooks by Anger’s grandmother who worked in Hollywood costuming. At first, these scrapbooks feel somewhat out of place because they are not directly linked to Anger’s work, but they are still fascinating to peruse.

On one set of pages, Anger’s grandmother created a section called “Cinema Canines” and “Dog Days in Hollywood,” which were essentially spaces given to photographs of dogs in films. The pages are amusing and add to the sense of nostalgia.

But the biggest factor of nostalgia lies in Anger’s films. A room houses large screens where many of Anger’s short videos are displayed. Anger is known for being one of the first filmmakers to openly depict homosexual relationships.

Describing Anger’s films is far from easy. They are often controversial, difficult to watch and erratic. But something about them keeps the viewer hooked — if not out of interest, then out of sheer confusion. If you were to walk into MOCA on any given day, curious to see what is on display without knowing anything about Anger, the videos and exhibition are definitely difficult to digest. It takes a certain amount of open-mindedness and trust to watch Anger’s films because they are so daring and cinematically complex.

Scorpio Rising is a good example of this. In the film, Anger depicts the biker subculture and creates scenes like the main character getting dressed to set up a somewhat disturbing but equally engrossing scenario. While the Scorpio gets ready to leave the house, we see him putting on rings and at one point snorting cocaine. Scenes of a motorcycle and other scene are interspersed rapidly — if you blink, you literally might miss something.

The action is slow, but the varying angles manage to keep the reader interested and the tension is built up so viewers wonder what will happen next, as the scenes in Scorpio Rising become more and more bizarre.

The video room also has a slightly strange set-up, which does not provide sitting space for more than a few people. Anger’s films need to be digested; forcing some viewers to stand, creating a less-than-optimal viewing experience. If you’re planning on visiting the exhibition, brace yourself — the pieces might not all fit in, but the process of figuring it all out proves the influence Anger has on the film and art world.

When it comes to making films or video art, it takes a certain amount of courage to present viewers with unconventional ideas or setups, and Anger’s willingness to take on this challenge is evident. The exhibition provides a thorough look back at how Anger shook up the film industry with videos that are still perplexing and intriguing today.