Author Archives: Barlo Perry


GARDAR EIDE EINARSSON—CONSERVATOR’S NOTES is a new artist’s book—Risograph, 36 pages, black and white—that looks at twenty-six exhibited works by Einarsson.

Published by At Last Books in Copenhagen, CONSERVATOR’S NOTES is available from Printed Matter.

Images courtesy and © the artist.


ANIMA—a short film by Paul Thomas Anderson set to three songs from Thom Yorke’s new album—features Yorke and a troupe of dancers performing an extended suite of movement work by choreographer Damien Jalet.

Yorke worked with Jalet when the musician was scoring Luca Guadagnino’s 2018 version of Suspiria.

ANIMA, now on Netflix.

Thom Yorke in Anima. Fourth from top: Yorke and Dajana Roncione, photograph by Darius Khondji. Below: Roncione and Yorke, photograph by Petr Dobias. Images courtesy and © the artists, photographers, and Netflix.


STEVEN PARRINO—PAINTINGS & DRAWINGS 1986–2003, now on view in Manhattan, is the late artist’s first hometown show in over a decade.

“Most are afraid of total freedom, of nothingness, of life. You try to control everything, but nature is uncontrollable. It doesn’t matter how you express yourself (words, image, electric guitar), what matters is that you have something to express…

“I want to be profoundly touched by art, by life. I came to painting at the time of its death, not to breathe its last breath, but to caress its lifelessness. The necromancy of the pietà, Pollock’s One, times with the birth of a synthetic star, 1958 BLACK PAINTINGS, DEATH & DISASTERS, modernism at its most powerful, before the point where circuses began.” — Steven ParrinoThe No Texts, 2003


Through July 15.


19 East 64th Street, New York City.

Steven Parrino, from top: For Pierre Huber, 1990, acrylic on canvas; SKELETAL IMPLOSION #2, 2001, enamel on canvas; SPIN-OUT VORTEX (BLACK HOLE), 2000, lacquer on canvas; Screw Ball, 1988, acrylic on canvas; Bentoffkilterslime, 1995, enamel and silicon on honeycomb aluminum; Silver Surfer, 1987, acrylic on canvas; Blue Idiot, 1986, acrylic and enamel on canvas; China de Sade, 1987, acrylic on canvas; Untitled, 1991, enamel on canvas; Death in America #22003, acrylic on canvas; Untitled, 1991, enamel on canvas; Crowbar, 1987, canvas, frame, crowbar. Images courtesy and © the artist’s estate and Skarstedt.


In the 1960s, Hydra was a seemingly magical refuge from the world, a bubble that kept you safe as long as you stayed inside it. But for many who left the Grecian island and returned to what was then referred to as the “rat race,” life away from their sanctuary proved dangerous, and there were many casualties along the way.

Leonard Cohen met an early, essential inspiration for his life’s work on Hydra—Marianne Ihlen, a Norwegian woman who was visiting Greece with her husband and son. This is where MARIANNE & LEONARD—WORDS OF LOVE—the fascinating new documentary by Nick Broomfield—begins. Cohen’s obsessive self-involvement provided its own buttress against straight society:

“A large part of my life was escaping, whatever it was… It was a selfish life, but at the time it felt like survival.”

It was left to Marianne to take what Broomfield—during his Film Independent post-screening interview with artistic director Jacqueline Lyanga—called the “oddly unflattering” role of muse. MARIANNE & LEONARD brings us the lifelong entanglements, the separations and reunions, the breakdowns and break-ups, the round-the-clock use of speed, wine, LSD, and other substances (“They used to call me Captain Mandrax,” explains Cohen in the film, citing the Quaalude-like drug he used to combat paralyzing stage fright)—all told through the eyes and hindsight of a man, Broomfield, who was also on Hydra in the ’60s and also fell in love with Marianne.

The film ends with Cohen reciting the last lines of his poem “Days of Kindness”:

“… What I loved in my old life
I haven’t forgotten
It lives in my spine
Marianne and the child
The days of kindness
It rises in my spine
and it manifests as tears
I pray that loving memory
exists for them too
the precious ones I overthrew
for an education in the world.”

Ihlen and Cohen died less than four months apart. And in the end he did give her what she wanted most, sending her a last message on her death bed: “See you down the road my friend. Endless love and gratitude, your Leonard.”


Now playing:

Playhouse 7

673 East Colorado Boulevard, Pasadena.

Arclight Hollywood

6360 Sunset Boulevard, Los Angeles

The Landmark

10850 West Pico Boulevard, West Los Angeles.

Black and white photographs: Marianne Ihlen and Leonard Cohen in Marianne & Leonard—Words of Love (2), courtesy and Nick Broomfield and Roadside Attractions. Color photographs: Broomfield (2) and Jacqueline Lyanga at the Film Independent Presents special screening of Marianne & Leonard at the Arclight Hollywood on July 2, 2019. Photograph by Araya Diaz/Getty Images.


The first major European retrospective of the artist’s work in half a century, LEE KRASNER—LIVING COLOUR brings together nearly 100 paintings, drawings, collages, and photographs by this pioneer of Abstract Expressionism.

A section of the exhibition at the Barbican reproduces Krasner’s small upstairs studio at the house in the Springs (East Hampton) she shared with Jackson Pollock during the decade of their marriage—from 1945 until Pollock’s death in a car crash in 1956—after which she took over Pollock’s studio and began her work on large, unstretched canvases.

After London, the show will travel to Schirn Kunsthalle Frankfurt.


Through September 1.

Barbican Art Gallery

Silk Street, London.

See Mary Gabriel, Ninth Street Women—Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art (New York: Little, Brown, 2018).

From top: Lee Krasner, Polar Stampede, 1960, the Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art, courtesy Kasmin Gallery, New York, photograph by Christopher Stach; Lee Krasner, Desert Moon, 1955, LACMA, © 2018, Digital Image Museum Associates, LACMA, Art Resource, New York, Scala, Florence; Krasner, circa 1938, photographer unknown; Lee Krasner, Palingenesis, 1971, courtesy Kasmin Gallery; Lee Krasner, Abstract No. 2, 1946–1948, Institut Valencià d’Art Modern, photograph provided by IVAM; Lee Krasner, Icarus, 1964, Thomson Family Collection, New York City, courtesy Kasmin Gallery, photograph by Diego Flores; Lee Krasner, Bald Eagle, 1955, collection of Audrey Irmas, Los Angeles, photograph by Jonathan Urban. Images courtesy and © the Pollock-Krasner Foundation.