Author Archives: Barlo Perry


In conjunction with Plumb Line—Charles White and the Contemporary at CAAM, Kohshin Finley and Diedrick Brackens will discuss their practice in a conversation moderated by Essence Harden.


Wednesday, August 21, at 7 pm.

California African American Museum

600 State Drive, Exposition Park, Los Angeles.

From top: Kohshin Finley (left) and Diedrick Brackens, photographs courtesy and © the artists, the photographers, and CAAM; Kohshin Finley, Listen to the Officer, 2017, diptych, oil and mixed media on canvas, courtesy and © the artist; Diedrick Brackens (2), demigod, 2019, photograph by Dario Lasagni, courtesy and © the artist; Kohshin Finley, poem, courtesy and © the artist and Cultured Magazine.


POINT OF NO RETURN—a group show at the Museum der bildenden Künste—looks at the Peaceful Revolution in the GDR, “and the radical change of East German society.”

“The exhibition incorporates the immediate history as much as it does the period of post-1989 transformation, illuminating the ‘cracks in the Wall’ that had already existed in the 1980s and the reasons for their emergence. It also addresses the unexpected fall of the Wall and the redefinition of artistic purpose in the time of social revolution. The exhibition is not limited to a subculture of East German artists and instead showcases work by the ‘Remainers,’ the ‘Rebels and Refomers,’ and the ‘Dissidents’ who bade farewell to the GDR before its collapse, as well as the ‘Next Generation.’*


Through November 3.

Museum der bildenden Künste

Katharinenstrasse 10, Leipzig.

Point of No Return, Museum der bildenden Künste, Leipzig, 2019, from top: Cornelia Schleime, Untitled (Horizontebilder), 1985–86, Sammlung Leo Lippold, courtesy and © the artist; Norbert Wagenbrett, Aufbruch, 1990, Kunstarchiv Beeskow, photograph by Andreas Kämper, © VG Bild-Kunst, Bonn, 2019; Lutz Friedel, Adler (Die Brüder), 1989, private collection, © VG Bild-Kunst, Bonn, 2019; Hans Ticha, Der Agitator (Rufer), 1988, Galerie Läkemäker, Berlin, © VG Bild-Kunst, Bonn, 2019; Hans Winkler, Konstruktive Beschwörung, 1991, Estate of Hans Winkler, Chemnitz, © VG Bild-Kunst, Bonn, 2019; Wasje Götze, Die reizende Mauer, 1988, private collection, courtesy and © the artist; Jürgen Schäfer, Ich und Ich (I), 1980, private collection, courtesy and © the artist; Trak Wendisch, Zungenabschneider, 1988, private collection, © VG Bild-Kunst, Bonn, 2019. All images—except Norbert Wagenbrett, Aufbruch—photographed by InGestalt/Michael Ehritt.


After a recent Film Independent Presents screening of AFTER THE WEDDING, Julianne Moore said something that revealed a uniquely generous approach to acting:

What I love about what we do is, regardless of age or experience, we all meet as peers. It doesn’t happen in a lot of professions, but it happens with acting.

In her new drama, the great accomplishment of Moore and two of her remarkable peers—Michelle Williams and Abby Quinn—is delivering memorable performances in the service of a schematic script about privilege and legacy among the one-percenters.

Moore plays Theresa, a nouveau-riche start-up billionaire ready to cash out. One of the loose ends that needs tying up is Isabel (Williams), an American-in-India who helps run an underserved aid facility for thousands of Calcutta street kids. Theresa would like to donate a very large sum to the program and—just before the Hamptons wedding of her daughter (Quinn)—Theresa summons Isabel to Manhattan for a meeting. Since she’s in town, Isabel also attends the wedding, where she meets Oscar (Billy Crudup), Theresa’s husband.

This comes as a shock to Isabel, since the last time she saw Oscar was twenty years ago, when they were both in their late teens…

AFTER THE WEDDING is Moore’s fourth feature collaboration with her husband, writer and director Bart Freundlich.


Now playing.

Arclight Hollywood

6360 Sunset Boulevard, Los Angeles.

Playhouse 7

673 East Colorado Boulevard, Pasadena.

After the Wedding, from top: Michelle Williams (left), Billy Crudup, and Julianne Moore; Vir Pachisia and Williams; Film Independent Artistic Director Jacqueline Lyanga (left), Moore, Abby Quinn, and Bart Freundlich, July 30, 2019, The Landmark cinema, photograph by Araya Diaz, courtesy of Getty Images and Film Independent; Williams and Moore; Quinn and Williams; Williams. Film images courtesy of Sony Pictures Classics.


If, in our century, something sacred still existed, if there were something like a sacred treasure of the cinema, then for me that would have to be the work of Yasujiro Ozu… Never before and never again since has the cinema been so close to its essence and its purpose: to present an image of man in our century, a usable, true and valid image in which he not only recognizes himself, but from which, above all, he may learn about himself. — Wim Wenders

Ozu’s TOKYO STORY—starring the great Setsuko Hara and voted the “greatest film of all time” in a 2012 Sight & Sound poll—will screen this week at the Aero as part of the American Cinematheque’s new Tuesday Matinee series.


Tuesday, August 20, at 1 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Yasujiro Ozu, Tokyo Story, from top: cast; Chishû Ryû (left) and Setsuko Hara; Chieko Higashiyama and Hara; Sô Yamamura (left) and Haruko Sugimura; Hara and Ryû; cast.


PLEASE RECALL TO ME EVERYTHING YOU HAVE THOUGHT OF—a group show of women artists at Morán Morán, curated by Eve Fowler—is on view for one more week.

This highly recommended exhibition includes the work of Etel Adnan, Frances Barth, Donna Dennis, Florence Derive, Simone Fattal, Magdalena Suarez Frimkess, Barbara Hammer, Harmony Hammond, Maren Hassinger, Suzanne Jackson, Virginia Jaramillo, Harriet Korman, Joyce Kozloff, Magali Lara, Mary Lum, Mónica Mayer, Dona Nelson, Senga Nengudi, Howardena Pindell, and Joan Semmel.

“The title of the show is from a Gertrude Stein text that Fowler selected for its ambiguous poetry that she felt honored the artists.”

I’m not asking the artists to tell me anything, but they allowed me in their studios—a private place where artists often feel vulnerable. — Eve Fowler*


Through August 24.

Morán Morán

937 North La Cienega Boulevard, Los Angeles.

Please Recall to Me Everything You Have Thought Of, curated by Eve Fowler, Morán Morán, 2019, from top: Howardena Pindell, Untitled #51, 2010, mixed media on board, courtesy Garth Greenan Gallery; Magdalena Suarez Frimkess, Untitled, 1972, glazed stoneware; Senga Nengudi, Rapunzel, 1981, silver gelatin print; Suzanne Jackson, finding joy in the mirror, 2016, acrylic, wood veneer, Bogus paper, loquat seeds, courtesy of O-Town House; Donna Dennis installation view; Florence Derive, Blue Manuscript, 2017, oil on raw linen; Maren Hassinger, Whole Cloth, 2017, photograph on fabric; Barbara Hammer, South Fork Yuba River, California, 1973, 2017, silver gelatin print, courtesy of Company Gallery; Barbara Hammer, Dyketactics, 1974, 16mm film transferred to video with sound; Harmony Hammond, Aperture #6, 2013, monotype on paper, courtesy of Alexander Gray Associates; Simone Fattal, Woman as Tree (1), 2010, porcelain, courtesy of Kaufmann Repetto; Frances Barth, A Tiny Pinch, 2017, acrylic on gessoed wood panel; Joan Semmel, Untitled, 2016, oil crayon on paper, courtesy of Alexander Gray Associates; Dona Nelson, Luka, 2015, acrylic and mixed media on canvas, courtesy of Michael Benevento; Etel Adnan, Mount Tamalpais, 2013, ink on handmade paper (2), courtesy of Callicoon Fine Arts; Mary Lum, Informations Practiques, 2019, acrylic on paper; Virginia Jaramillo, Visual Theorems 15, 1979, linen fiber with hand-ground earth pigments, courtesy of Hales Gallery; Harriet Korman, Untitled, 2016–18, oil on canvas. Images courtesy and © the artists and Morán Morán.