The exhibition coincides with the centennial of Mekas's birth and surveys his 70-year career.
The Jewish Museum presents Jonas Mekas: The Camera Was Always Running, the first U.S. museum survey of the Lithuanian-born filmmaker, poet, critic, and institution-builder who helped shape the avant-garde in New York City and beyond. The exhibition coincides with the centennial of Mekas's birth and surveys his 70-year career. It includes 11 films, photography, and previously unseen archival materials that explore the breadth and import of Mekas's life, art, and legacy in the field of the moving image. During the final moments of World War II in 1944, Mekas was forced to flee his native Lithuania and unable to return until 1971. The relationship between exile and creativity is always at the heart of his work and will be the exhibition's central theme. Jonas Mekas: The Camera Was Always Running will be on view at the Jewish Museum from February 18 through June 5, 2022, and is organized by guest curator Kelly Taxter, with Kristina Parsons, Leon Levy Curatorial Assistant, the Jewish Museum.
"Jonas Mekas is widely recognized as the preeminent maker and promoter of the New American Cinema-a radical genre of filmmaking that erupted in the 1960s, and whose makers examined upturned norms of sexuality, gender, and labor," states Taxter. "A lodestar in the history of the postwar American avant-garde, Mekas's lifelong commitment to cultural and artistic movements outside the mainstream brought together and forged creative alliances amongst generations of artists working in diverse mediums." After spending five years stateless and homeless in a Nazi work camp and then in Displaced Persons camps throughout Germany, Mekas (b. 1922, Semeniškiai, Lithuania; d. 2019, Brooklyn, New York) emigrated to New York City with his brother Adolfas in 1949. A penniless, war-weary refugee, he nonetheless swiftly integrated into the city's thriving counterculture, becoming a central organizer, and later a prolific filmmaker, within the avant-garde community. Like many emigrés in the aftermath of World War II-as for so many across the globe today-his art was profoundly marked by his refugee experience: the loss, memory, and longing for a home he permanently left behind in 1944.Over 70 decades, Mekas made nearly 100 films and videos, amassing footage that was both a record of his life and a resource for his art. He was the author, founder, and co-founder of numerous artist-run cooperatives, distribution networks, and writings on film: in 1954, he co-founded Film Culture, the first journal of American film criticism; from 1958-71, he penned "Movie Journal,'' the first critical column on cinema in the Village Voice; in 1962 he co-founded The Film-Makers' Cooperative, among the earliest organizations to support experimental film production, screening, and distribution on a large scale; in 1969 he co-founded Anthology Film Archives which became-and remains-a focal point for New York's experimental cinema scene; and finally, between 1968 and 1969, the Film-Makers' Cooperative presented the screening and conversation series Avant Garde Tuesdays at the Jewish Museum (a selection of these screenings will be reconsidered as a series of public programs in collaboration with Anthology Film Archives).
In conjunction with Jonas Mekas: The Camera Was Always Running, Film at Lincoln Center will screen, from February 17 through 28, 2022, a selection of Mekas's most essential film and video works as well as some rarites, from his first feature length film, Guns of the Trees (1962), which exemplifies the existential, postwar ethos of the Beat Generation, to the majestic diaristic work which became his modus operandi, to the reflective and deeply moving final features that concluded his career.
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