In his Village Voice "Movie Journal" columns, Jonas Mekas captured the makings of an exciting movement in 1960s American filmmaking. Works by Andy Warhol, Gregory J. Markapoulos, Stan Brakhage, Jack Smith, Robert Breer, and others echoed experiments already underway elsewhere, yet they belonged to a nascent tradition that only a true visionary could identify. Mekas incorporated the most essential characteristics of these films into a unique conception of American filmmaking's next phase. He simplified complex aesthetic strategies for unfamiliar audiences and appreciated the subversive genius of films that many dismissed as trash. This new edition presents Mekas's original critiques in full, with additional material on the filmmakers, film studies scholars, and popular and avant-garde critics whom he inspired and transformed.
Catalogue of notes and frames from 16 mm. color and black and white silent movies taken in the late 1960s and early 1970s of John and Caroline Kennedy with their friends.
Jonas Mekas has worked together with Andy Warhol, George Maciunas, John Lennon, and many others. In New York he was an influential figure in the New American Cinema, although he came to film-making relatively late. In 1944 Mekas and his younger brother Adolfas had to flee from the Nazis for copying leaflets. They were interned for eight months in a labour camp in Elmshorn. The Soviet occupation prevented him from returning to his native Lithuania after the war and, classed as a ?displaced person?, he lived in DP camps in Wiesbaden and Kassel. Towards the end of 1949 he and his brother emigrated to New York. In his autobiography 'I Had Nowhere to Go' he describes his survival in the camps and his arrival in New York. Mekas tells a universal story, that of an émigré who can never go back, whose loneliness in his new world is emblematic of human existence.
In his Village Voice "Movie Journal" columns, Jonas Mekas captured the makings of an exciting movement in 1960s American filmmaking. Works by Andy Warhol, Gregory J. Markapoulos, Stan Brakhage, Jack Smith, Robert Breer, and others echoed experiments already underway elsewhere, yet they belonged to a nascent tradition that only a true visionary could identify. Mekas incorporated the most essential characteristics of these films into a unique conception of American filmmaking's next phase. He simplified complex aesthetic strategies for unfamiliar audiences and appreciated the subversive genius of films that many dismissed as trash. This new edition presents Mekas's original critiques in full, with additional material on the filmmakers, film studies scholars, and popular and avant-garde critics whom he inspired and transformed.
A selection of 400 black-and-white photographs taken by Tina Bara between 1983 and 1989 in East Berlin, the old GDR and other travels comprises this artists book. Documentary photographs on a clandestine trip to Russia, forbidden scenes from the VEB Buna chemical plant, and observations of punks and other young rebels are interwoven with intense full-body and portrait photographs of her friends as well as a photographic love story. Combined with texts in the form of subtitles, this poignant body of work captures a cinematic-like quality. Bara also shares her search for feminine identity within the subversive, melancholy rebellion against East Germanys dictatorial system. Her photographs convey the collective need to break out of a monotonous system repressive of individuality and self-will that no longer exist. This visual diary captures a moment right before the collapse of an entire political and ideological system.
A Dance with Fred Astaire covers the 94 years Mekas has spent weaving himself inextricably into the fabric of postwar culture, featuring a dizzying cast of cultural icons both underground and mainstream.
Douglas Gordon is one of the most important contemporary British video artists. With his film, I Had Nowhere To Go he has created a very special contribution to documenta 14.Based on the literary journal of the well-known filmmaker Jonas Mekas, Gordon's film depicts how Mekas fled his home in Lithuania to escape the Nazis and then emigrated to America after years in so-called Camps for Displaced Persons.But Douglas Gordon's film is not simply a retelling, not an adaptation. It is rather his artistic reaction to the impressive book and its approach to remembering atrocities.This accompanying publication presents a selection of film stills along with text excerpts from Jonas Mekas' accounts.Published on the occasion of the exhibition, I Had Nowhere To Go: by Douglas Gordon at documenta 14, Athens (8 April - 16 July 2017), and at documenta 14, Kassel (10 June - September 2017).
Jonas Mekas fut aussi l’un des plus grands critiques cinématographiques américains. De 1959 à 1971, il officie dans plusieurs revues new-yorkaises et y déploie une écriture hautement poétique et amoureuse, dont la seule valeur littéraire justifierait amplement cette édition. Farouchement libertaire, il appelle à la libération du cinéma, déclame sa passion pour « l’art qui n’a d’autre but que sa propre beauté : il est tout simplement comme les arbres sont. » Il contribue amplement, par ses commentaires, à donner au cinéma expérimental, qu’il préfère appeler d’avant-garde, ses lettres de noblesse. Son œuvre critique est adulée par Jim Jarmusch, Peter Bogdanovich ou John Waters. Unanimement salué à travers le monde, fréquemment invité à la Cinémathèque française comme au Centre Pompidou, Jonas Mekas est l’une des dernières légendes vivantes de l’art contemporain.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.