Catalog of an exhibition co-sponsored by the Art Museum at Florida International University and the Ritter Art Gallery at Florida Atlantic University. Essay by Pablo Edelstein.https://digitalcommons.fiu.edu/frostcatalogs/1006/thumbnail.jp

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Florida International UniversityFIU Digital CommonsFrost Art Museum Catalogs Frost Art Museum7-14-1985Richard Duncan Recent WorksThe Patricia and Phillip Frost Art MuseumThe Patricia and Phillip Frost Art MuseumFollow this and additional works at: http://digitalcommons.fiu.edu/frostcatalogsThis work is brought to you for free and open access by the Frost Art Museum at FIU Digital Commons. It has been accepted for inclusion in Frost ArtMuseum Catalogs by an authorized administrator of FIU Digital Commons. For more information, please contact dcc@fiu.edu.Recommended CitationFrost Art Museum, The Patricia and Phillip, "Richard Duncan Recent Works" (1985). Frost Art Museum Catalogs. Book 7.http://digitalcommons.fiu.edu/frostcatalogs/7338 Richard DuncanAn exhibition co-sponsored by the Art Museum at Florida InternationalUniversity, Miami, Florida and The Ritter Art Gallery at Florida AtlanticUniversity, Boca Raton, Florida.June 14-July 19, 1985-Florida International UniversitySept. 17-Oct. 31, 1985-Florida Atlantic UniversityC/)"'CCco....C/)"'CCcoJ: Recent Wo r k sMiami Beach 1983Resting Figure 1985AcknowledgementsThe Art Museum at Florida International Univer­sity, in conjunction with the Ritter Art Gallery atFlorida Atlantic University, is proud to present thisexhibition and catalog of the works of RichardDuncan. Mr. Duncan has been a member of thefaculty at Florida International University since1978. H� has shown extenslvely in Florida andthroughout the United States. Mr. Duncan is an ac­complished artist and the Museum is delighted tocontinue the tradition of exhibiting Florida's artist­teachers. We see this as part of our mission ofpresenting a comprehensive view of what is cur­rently taking place in the art world. The exhibition,I believe, demonstrates Mr. Duncan's ability to pro­duce complex images in an innovative and reveal­ing manner using a wide range of techniques.The cooperation and interaction of many in­dividuals make an exhibition of this scope possi­ble. I would like to express my gratitude to RichardDuncan for so enthusiastically providing us withhis new work. He aided in the organizational pro­cess and was in continuous communication withour staff regarding the publication of this catalogand all the aspects of this exhibition.I would also like to express my thanks to Dr.David Courtney, Director of the Ritter Art Gallery atFlorida Atlantic University for co-sponsoring thisexhibition, and giving us the opportunity to sharewithin our own state university system in SouthFlorida. I would like to acknowledge the generousgrant from the South Florida Cultural Consortiumthat has enabled this exhibition to travel acrosscounty lines.Finally, I must also thank the Student Govern­ment Association at Florida International Universi­ty for their enlightened general support, and mustacknowledge the fact that a portion of the gallery'soperating funds for the fiscal year has been provid­ed through a grant from the Institute of MuseumServices, a Federal agency that offers generaloperating support to the nation's museums.This program prohibits discrimination on thegrounds of race, color, national origin, sex, han­dicap or age in accordance with Federal law.Dahlia MorganDirectorThe Art Museum atFlorida International University"This project is supported by a grant from the South Florida Cultural Consortium and theNational Endowment for the Arts."Artist's StatementRichard H. Duncan(About statements: More or less as necessary asart which is or isn't.)The intaglio print for me is more frequently avehicle of the incised image: a bit drunk with black,balancing upon so many lines, physically awkwardlike friendly wrestling.The lithographic surface I hold in semi­reverence and awe, like a stone-age cave dweller,drawn to the "other", touching it with mutables likecrayon, scrapers, and escaping breath.The renderings on both stone and paper are themost lunatic: pilgrimages begun like a ball ofsnow, urged up a mountain's steepening height,resting hugely ludicrous upon a crag.Drawing is for me frequently an opening, a highheld in delicate balance by the moment of the sub­ject, the hand, the eye, the surfaces and the dura­tion of each mark. It possesses the most ofdiscovery and the least of imposition. It's theletting ...I would like to acknowledge my gratitude to theArt Museum and staff of Florida InternationalUniversity, and in particular Dahlia Morgan, theDirector and Bill Humphreys the Gallery Managerfor their faith and enterprise in this endeavor. Aparticular thanks to Curly Ulrich for turning a pressreparation into a rnodltled special.I would also want to thank the staff at the RitterGallery, at Florida Atlantic University, and in par­ticular Dr. David Courtney, the Director. This ex­hibition was made possible by the South FloridaCultural Consortium and I would like to thankthose people responsible for awarding this grant.Richard Duncan, by Pablo Edelstein, 1982, 6x6", EtchingIntroductionMore than four years have gone by since I metRichard Duncan for the first time. I was immediate­ly fascinated by his spontaneous manner and hisnatural approach towards his fellow man; making iteasy for me in successive encounters to get toknow him as a full-hearted person, and as an im­aginative artist. Thus by understanding the man, Ilearned to look at his works appreciatively. It turn­ed out that his drawings and engravings made mediscover several unsuspected Richard Duncans.If BEING means unshaken fortitude, thenDEVELOPMENT stands for the forces that producechange. With Duncan the definition could read theother way around: He is an everchanging being andhis search for striking disclosures is his constantessence. I should not like to appear as if playingwith words in my endeavor to enhance Duncan'scapacity for making you enter his mysteriousworld, because his very nature drives him from onestate of marvel to another whilst his keen imagina­tion is constantly spurred by renewed stimulations.As we look at the works that have come to lifeby Duncan's sensitive and agile hands, we becomefully aware of his skill and amorous delight withwhich he handles his tools, whether it be the cop­perplate, the lithographer's stone, the acids, thepaper, the ink or the pressure of the pencil, or therollers of his printing press. We can appreciate thevariety of his multiple endeavors, striving, on theone hand after structural perfection to enhance theformal qualities of his compositions, and on theother, engaged with humanistic subject matter thatmakes specific references to time and place.Richard Duncan is a free man, allowed to takeany liberty he may fancy because his advancingstride is exempt from aggressiveness. He is follow­ing the same path which humanity and art haveshared through the ages but step by step he is fin­ding his own very personal way. He is not influenc­ed by a specific period or style but is convincedthat everything can be useful and inspiring.Although Richard Duncan is very generous and in­dulgent towards others he is his own severestcritic. His work will, no doubt, speak for itself bet­ter than anything else I could say and the onlookeris sure to be engaged in dialogue with it.Pablo EdelsteinPablo Edelstein is the chairman of the Departmentof Sculpture at the National School of Fine Arts inBuenos Aires, Argentina. He has served as advisorto the Argentine Secretary of Culture and is an ar­tist of international reputation, chosen "Outstan­ding Artist of the Year, 1982" in Argentina.Works in the Exhibition Tunisian Carpet Sketch Sleeper I 152nd Street Rush HourAll pastels, inks and draw- 1981 1983 1985 1985ings are on paper. All dimen- 12x1T' 16x19" 12x16" 12x16"sions are in inches, height Lithograph Pastel Pencil and pastel Intagliopreceding width. Standing Figure Fish Sleeper II Folies Fort Lauderdale1981 1983 1985 198510x5" 16x21" 12x16" 14x20"Lucite engraving with flex shaft Pastel Pencil and pastel Lithographdrill Bra Sleeper III On A StringRising Venus II 1981-85 1985 19851983 15x18 12x16" 6x9"14x15" Pencil Pencil and pastel EtchingLitho and acrylic collage Seated Figure Sleeper in the Vale I Figure: Legs38 Handed 1985 1985 19851983 22x17" 12x16" 14x20"31x8" Twig and ink Etching EtchingEngraving on lucite, hand painted Reclining Figure Sleeper in the Vale II Chain LinksBathers 1983 1985 19851982 16x20" 12x16" 18x14"8x30" Penci I and pastel on 3 layers us- Etching Intaglio and acrylicLucite engraving with flex shaft ing tracing paper and Rives BFK Sleeper in the Vale III Figuredrill Miami Beach 1985 1985Bedroom Corner 1983 12x16" 16x22"1979 17x22" Etching Drawing20x27" PastelSea Forms FoliesPencil Rising Tide: Turkey Point 1981-85 1985Three Graces 1985 18x25" 38x50"1983 15x20" Pri nt collage India Ink17x21" Stick and inkEverglades Figure StudyPencil on 3 layers using tracing Wakes at Black Point 1983 1985paper and Rives BFK 1985 16x21" 12x16"Swimmers Arms 15x20" Pastel and pencil Lithograph1983 PastelReclining Back View Asylum14x18" Resting Figure 1984 1985Engraving on zinc with flex shaft 1985 6x9" 20x15"drill 26x20" Drypoint IntaglioHandstands Pastel and charcoal pencil Double Portrait Bicycle1985 Wall Sample I 1985 19857x8" 1985 20x30" 22x28"Mezzotint 20x15" Drawing IntaglioBay and Mangroves Etching with relief printing Figure Study Dolphin Dream1985 Wall Sample II 1985 198210x17" 1985 26x18" 14x18"Pastel 20x15" Drawing LithographRising Venus I Etching with relief printing Figure Study Figures (Miniature)1983 Wall Sample III 1985 198513x15" 1985 18x26" 2x3"Litho and acrylic collage 20x15" Drawing EtchingEtching with relief printingSea Forms 1981-85Figures (Miniature)19852x3"EtchingFigures (Miniature)19852x3"EtchingFigures (Miniature)19852x3"EtchingFigurative Space198524x30"EtchingMiami Beach II198516x22"PastelWoman I198522x16"PastelWoman II198522x16"PastelAfter Rubens19836x9"EtchingStanding Legs198514x9"EtchingHovercraft198515x20"EtchingUntitled198520x30"PastelUntitled198524x30"DrawingUntitled198520x30"PrintBeauties of Tampa Circa 1920198520x30"IntaglioLes Semblables198520x30"EtchingBiographyRichard H. Duncan Born: Daytona Beach, Florida, 1944Education: M.F.A. Southern Illinois UniversityEdwardsvilleB.A. (English) SIU-E, 1966Teaching: Florida International University­Tamiami CampusAssistant Professor1978-PresentThe University of the South, Sewan­nee, Tennessee.Instructor 1973-1978Honors: Ford Foundation 1974-1976Group Exhibitions:Eleventh National Print ExhibitionSilvermine GuildNew Canaan, Conn., 1976World Print '77Museum of Modern ArtSan Francisco, Calif. 1977Smithsonian Institute Traveling Exhibition(96 artists from 23 countries)Fifteen museums in Canada and the U.S.,1977-79Twenty-fifth National Print ExhibitionNational Collection of Fine Arts - The Library ofCongress, 1977National Printing and Drawing ExhibitionSociety of the Four ArtsPalm Beach, Fla., 1980-82Southeast Artists Invitational(35 artists in the Southeast), 1976-77:The High Museum, Atlanta, Ga.The Hunter Art Museum, Chattanooga, Tenn.Greenville, S.C. MuseumSoutheast Center for Contemporary Art,Winston-Salem, S.C.Birmingham Art Museum, Birmingham, Ala.Solo ExhibitionsHunter Art Musuem, Chattanooga, Tenn., 1977Vanderbilt University Art Gallery, 1977The Art Museum at Florida InternationalUniversity, Miami, Fla., 1985RiSing Tide: Turkey Point 1985Reclining Figure 1983Wakes at Black Point 1985GlossaryEditionAny set number of impressions printed from thesame plate; usually numbered.EngravingA method of manually incising a metal plate with asharp tool to create a surface for intaglio printing.The depth of an engraved line depends on theangle and pressure with which the tool is movedacross the plate. This, in turn, yields printed linesof varying width and darkness.EtchingA method of chemically incising a metal plate withacid to create a surface for intaglio printing. Theplate is first coated with an acid-resistant groundand lines are then drawn through the ground, ex­posing the plate. When the plate is placed in anacid bath, the acid eats or "bites" away exposedareas to create the image.IntaglioDerived from the Italian intagliare ("to engrave" or"to carve"). A generic term for printing processesin which the printing areas are recessed, includingengraving and etching. When intaglio plate is inkedand wiped, the recessed lines hold ink. Thepressure of the printing press forces the inkedlines onto the paper. The lines are raised off thepaper's surface.DrypointMethod of literally scratching into a plate's surface.Ink attaches to the rough edges of the raised fur­row producing rough but velvety blacks.LithographyA planographic, or "surface" process which in­volves no cutting into or away from the surface ofthe plate. Lithography depends on the antipathy ofgrease and water. The image is drawn with agreasy substance, such as litho crayon, onto a slabof limestone or an aluminum plate. Before printing,the surface is sponged with water, then rolled witha greasy ink. Wet areas retain it and yield theprinted image.ReliefA term used to describe printing techniques inwhich the raised surfaces of a block or plate arerolled with ink and printed.CollageMethod in which one or more surfaces are glued toan original. From the french "coller" meaning toglue or stick on.  

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