Tag Archives: Duncan Hannah


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The new show of work by Duncan Hannah is a conflation of literature and film (F. Scott FitzgeraldLee Remick as Temple Drake in Sanctuary, old cinema façades), and other mid-twentieth-century daydreams.

Copies of Hannah’s newly published diaries, 20th Century Boy: Notebooks of the Seventies, are available at the gallery.


DUNCAN HANNAH, through May 26.

PARKER GALLERY, 2441 Glendower Avenue, Los Feliz, Los Angeles.


Video of Hannah and James Wolcott in conversation at Strand:



Above: Duncan HannahFitzgerald, 2013; oil on canvas, 12″ x 12″.

Below: Duncan HannahLee Remick as Temple Drake, 2010; oil on canvas, 15″ x 14″.

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A New York Dolls costume party at the Waldorf, a Roxy Music concert at the old Academy of Music and after-party in Larry Rivers’ loft, Lou Reed’s scatological proposals in Max’s back room… It was all part of artist Duncan Hannah’s young New York life in the early 1970s.

Naturally, he kept a diary:

“Patti Smith told me she put me in a poem. She started a week’s residency [in The Paradise Room] at Reno Sweeney. I go every night and sit at the bar nursing a beer, watching it on the closed-circuit TV, because I can’t afford the cover charge. One night I had the misfortune to be joined by Bette Midler, who said through mouthfuls of food, ‘Gawd, what is this? Who does she think she is? Bob Dylan? Laura Nyro? Lawrence Ferlinghetti? This stuff went out of style in the ’50s!’

“Unable to contain myself, I turned to her and said, ‘Well, you went out in the forties, and I wish you’d stayed there’…

“Television play every night at a biker bar on Bleecker and [the Bowery], called CBGB. The decor is neon beer signs and giant blowups from bygone theatricals… Television have only one set’s worth of songs, so their second set is the same as the first. Only a couple dozen people show up, but there’s a real rough excitement to this band…

“Reading about alcoholism in Time magazine. I fit the profile. I am unable to choose whether I drink or not, and if I do, I’m unable to stop…”


From Duncan Hannah, “Diaries, 1973–1974,” excerpt from The Paris Review 223 (Winter 2017): 173–204.

A more complete selection of Hannah’s diaries will be published in spring, 2018 as 20th-Century Boy—Notebooks of the Seventies (Knopf).

See: John Leland, “From CBGB to the Galleries of the Met,” New York Times, May 6, 2016:


Television singer-songwriter-guitarist Tom Verlaine and Patti Smith in the early 1970s, New York City.

(Verlaine’s childhood friend Richard Hell—also in Hannah’s diaries—was the band’s bassist, but left before they recorded their first album.)

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PURPLE—the magazine Elein Fleiss and Olivier Zahm started twenty-five years ago in Paris—celebrates its anniversary this fall with a “25 Years 25 Covers” edition.

In the beginning there were several Purples—Purple Fiction, Purple Fashion, Purple Sexe, which eventually came together in one quarterly edition—but in 2004, PURPLE truly split in two, with Fleiss editing Purple Journal (and later Les Cahiers Purple and Les Chroniques Purple), and Zahm starting Purple Fashion, the current biannual.

Fleiss and Zahm are also the co-editors of the exhibition catalogue Elysian Fields (2000), and the collection Purple Anthology: Art Prose Fashion Music Architecture Sex (2008).

“Doing a luxury magazine today is one of the paradoxes of the Instagram era… A magazine is not an ego trip… It’s a collective work by a group of creative people who believe in the artistic value of the print media and share a similar vision…

“Every image, every single text, the choice of paper, the layout, even the choice of typefaces matters. Everything matters… PURPLE is made to last… to capture a moment every season… In this period of global internet obsession and digital amnesia, I think that means something.”— Olivier Zahm, editor’s letter.


Available at Book Soup on Sunset Strip, Skylight Books in Los Feliz, LACMA and MOCA bookshops, etc.

From top: Purple Autumn/Winter 2017–2018 covers, including a painting by Duncan Hannah, and Slick Woods in Chanel.

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