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Gidget novels (based on a Hollywood writers actual surfer-girl daughter), and the falsetto lyrics of Beach Boys songs. It was the mesmerizing vision of a white kids car-and-surf-based Utopia. Kienholz was the major exception. As Anne Bartlett Ayres has pointed out, his assemblages developed as a shadow side to the famous L.A. Look ,1 2 1 a kind of hotrod noir juxtaposed to the Pop luster of his colleagues. His Back Seat Dodge - 38 of 1964 - a work that so infuriated a right-wing County supervisor that he tried to have the new County Museum of Art shut down because of it - summarized the Southern California Dream in a single noir tableau. Literally hotrodding, Kienholz chopped a 38 coup and set it in a Lovers Lane complete with discarded beer bottles on the grass and mushy music. Dead lovers, locked in a grim missionary embrace on the front seat, seemed to symbolize an adolescence gone to seed in eternity - Frankie Avalon and Annette Funicello petting after the Holocaust. Kienholzs imagery - set in a fateful year - anticipated the worst. This car-sex-death-fascism continuum also emerged as a dominant vision in L.A. underground film. In the notes to his lost classic, Kustom Kar Kommandos (1964 65), Kenneth Anger - comparing L.A. eroticized custom cars to an American cult-object of an earlier era, Mae West - emphasized that for the Southern California teenager, the power-potentialized customized car represents a poetic extension of personality.122 Anger leader of the Hollywood film underground at various times in the 1950s and early 1960s - knew all about Southern California adolescence. This Hollywood brat reputedly played the role of the child prince in Max Reinhardts movie of A Midsummer Night's Dream and had Shirley Temple for a dancing partner at cotillions of the Maurice Kossloff Dancing School, before launching his filmmaking career at age eleven. Another avid follower of Aleister Crowley, Anger was obsessed with the diabolics of Hollywood, homosexuality and speed machines of all kinds. His book, Hollywood Babylon has been described as a slander catalogue amounting to a phenomenology of the myth of the scandal in Hollywood, while two of his films, Scorpio Rising (1962) (which contains the seed of the 1980s film Blue Velvet in one of its segments) and Kommandos, explored the Nietzschean porno-mythology of motorcycle gangs and hotrodders.123 Adding to the L.A. car-culture phenomenologies of the Ferus artists and Anger, as well as inaugurating an improvisational voice that has been

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