paris

Duncan Hannah, Isabelle, 2010, oil on canvas, 9 7/8 x 9 7/8".

Duncan Hannah

castillo/corrales

Duncan Hannah, Isabelle, 2010, oil on canvas, 9 7/8 x 9 7/8".

In his book Retromania: Pop Culture’s Addiction to Its Own Past (2011), Simon Reynolds unpacks a less-discussed register of the Sex Pistols’ legendary exhortation “No Future.” In addition to its apocalyptic disregard for what was to come, Reynolds argues, punk valorized an outmoded past—the sound and fashion of 1950s American rock ’n’ roll—in opposition to hippie counterculture. Punk’s retrospective gaze figured in the interplay between past and present in “Duncan Hannah: Paris,” a sampling of the artist’s recent drawings, paintings, and collages, along with film clips and copies of a “zine” created by the curator, British critic Adrian Dannatt, chronicling Hannah’s presence on the East Village scene of the late 1970s and early ’80s.

Dannatt focused on French motifs in Hannah’s work from the past six years: representational drawing and painting, primarily of film actresses;

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