HERBERT CREECY
A LEGEND REDISCOVERED
BILL LOWE GALLERY
HERB
BERT CREECY
“Herbert Creecy was part Abstract Expressionist wild man, part truth - seeker, and part pseudo- hayseed who was blessed with the sensitivity of a philosopher king.”
Dan R. Talley, Professor, Fine Arts Kutztown University, PA
HERBERT CREECY (1939 - 2003) INTRODUCTION
Bill Lowe Gallery proudly announces our exclusive representation of the Estate of Herbert Creecy (1939-2003). Heralded as the most significant Abstract Expressionist painter ever to come from the South, Creecy’s work can be found in the permanent collections of the Whitney Museum of American Art (New York), the Corcoran Gallery of Art (Washington, D.C.), the High Museum of Art (Atlanta), the Museum of Contemporary Art of Georgia, as well as in a vast array of blue-chip corporate and private collections. A carefully curated collection of Herbert Creecy’s never-before-seen paintings at Bill Lowe Gallery shines a new light on this historic artist.
Decidedly earthy and always inventive, Creecy was part Abstract Expressionist wild man, part truth-seeker, and part pseudo-hayseed who was blessed with the sensibility of a philosopher king. He was a painter who obsessively made art for more than forty years - a passion that took hold of him in high school, propelled him through studies at the Atlanta College of Art, and landed him a fellowship from the government of France to work with printmaker Stanley William Hayter at Atelier 17, in Paris, at age twenty-five. He apprenticed for a year and joined the ranks of an august group of other Hayter - trained artists including Jackson Pollock, Mark Rothko, Joan Miro, Marc Chagall, and Pablo Picasso. Creecy eventually found his artistic center in old six-thousand-square-foot former cotton warehouse in Barnesville, sixty miles southwest of Atlanta, Georgia where he worked and often lived for a quarter-century.
Herbert Creecy’s dense and exuberant paintings employ a range of experimental techniques that were ahead of his time. Though widely known for his “squiggles”, the scope of Creecy’s oeuvre demonstrates his immense ingenuity and technical virtuosity. Wildly prolific, his imagery and influences were unbounded by traditional constructs. He often re-purposed and painted over canvases to unearth new compositions, pushing the spatial boundaries of the traditional picture plane. Creecy’s methodology allows his work to maintain its integrity and complexity in almost all orientations. What always remains is a pure painterly expression of an internal landscape.
Widely acknowledged as Atlanta’s most renowned painter, Herbert Creecy’s “Southern-ness” gave him as much pride as lament; he was quoted to have often been disappointed with the limitations of the Atlanta arts scene. Yet, he never migrated nor disassociated from the regionality that was so integral to his identity. Abstract Expressionists like Jasper Johns, Cy Twombly, and Robert Rauschenberg are rarely attributed to the South; their artistic careers were launched out of and driven by New York, their narratives often stripped of their geographical origins. Herbert Creecy maintained impressive artistic influence from his Atlanta base, where his creative mastery earned him a rightful place in the arc of art history.
INCANTATION, 1999 ACRYLIC AND MIXED MEDIA ON CANVAS 66 X 66 INCHES
GEISHA, 1992,
ACRYLIC AND MIXED MEDIA ON CANVAS, 67 X 117 INCHES
SIMULACRUM, 1997 ACRYLIC AND MIXED MEDIA ON CANVAS 36 X 36 INCHES
ZANZIBAR, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 86 X 108 INCHES
Herbert Creecy believed that great art is based on strong emotion ....and he must be in touch with his intuition . . . and he must disengage totally from the intellect.
- From the video, Creecy: presented by MOCA GA, produced by Alan Stecker, and made possible by a grant from The Judith Rothschild Foundation
THE CHANNEL AND THE TANKER, 1978 ACRYLIC AND MIXED MEDIA ON CANVAS 84 X 108 INCHES
PINWHEEL, 1991 ACRYLIC AND MIXED MEDIAON CANVAS 86 X 108 INCHES
SPIROGYRA, 1991,
ACRYLIC AND MIXED MEDIA ON CANVAS, 83 X 131 INCHES
PANGEA, 1990,
ACRYLIC AND MIXED MEDIA ON CANVAS, 85 X 120 INCHES
COSMOGENESIS, 1998,
ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS, 66 X 133 INCHES
EUPHORIA, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 66 X 80 INCHES
JAPAN, 1990,
ACRYLIC AND MIXED MEDIA ON CANVAS, 66 X 115 INCHES
CAUGHT IN THE SPIRAL, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 86 X 86 INCHES
MATSUDA, 1990 ACRYLIC AND MIXED MEDIA ON CANVAS 84 X 84 INCHES
STORMS OF WAR, 1974 ACRYLIC AND MIXED MEDIA ON CANVAS 84 X 108 INCHES
DISTANT LIGHT, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 42 X 33 INCHES
COMES THE NIGHT, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 42 X 33 INCHES
“Herbert was constantly renewing himself as an artist. He never rested on his earlier inventions but moved on to new ways of applying paint that were original and different from anything else.”
- Gudmund Vigtel, Director High Museum of Art (1963 - 1991)
SHANTY UNDER PRESSURE, 1997 ACRYLIC AND MIXED MEDIA ON CANVAS 66 X 58 INCHES
Wildly prolific, his imagery and influences were unbounded by traditional constructs. He often re-purposed and painted over canvases to unearth new compositions, pushing the spatial boundaries of the traditional picture plane. Creecy’s methodology allows his work to maintain its integrity and complexity in almost all orientations. What always remains is a pure painterly expression of an internal landscape.
KHAN, 2001 ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS 84 X 85 INCHES
SHIFTING PARADIGMS, 1993 ACRYLIC AND MIXED MEDIA ON CANVAS 67 X 71 INCHES
ARMANI, 1997 ACRYLIC AND MIXED MEDIA ON CANVAS 66 X 60 INCHES
GLISTEN, 1990,
ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS, 72 X 108 INCHES
IPANEMA, 1997 ACRYLIC AND MIXED MEDIA ON CANVAS 96 X 86 INCHES
Given the method by which he worked, it could be said that Creecy liberated himself through the act of painting, what might be understood as a cognizance of temporality, an acute awareness of time. This might further suggest that his art carried with it a direct philosophical sense of being. It is possible that he understood his role as a painter as someone living through a moment in history wherein his art could be likened to a kind of existential realization that gave attention to himself and his mortality as being integral to the act of painting. It would be difficult to say whether or not such a moment really existed in his work. Such philosophical motives do not always reveal themselves so clearly. Even so, this does not negate the artistic desire for emancipation. Creecy was clearly interested in making paintings on his own terms. Despite any influences that may have contributed to his work – if allowed to exist consciously within his paintings – the emergent forms would ultimately remain his own and uniquely attributed to his paintings.
- Robert C. Morgan ( New York, 2019 )
WHISTLING WIND, 1999,
ACRYLIC AND MIXED MEDIA ON CANVAS, 68 X 68 INCHES
GREY RHYTHM (1), 1999 ACRYLIC AND MIXED MEDIA ON CANVAS 68 X 68 INCHES
GREY RHYTHM (2), 1999 ACRYLIC AND MIXED MEDIA ON CANVAS 68 X 68 INCHES
In a more parochial sense, Creecy was out on his own. His major concern became the direction these forms would take. Would they remain static or would they move forward? Would one painting offer a direction for another or for an entire assembly of paintings? If so, this would not always appear obvious in Creecy’s work. Rather, there would most likely be a series of interruptions or intervening variables to the extent that motifs from the past would impinge upon the future, but not always in a direct sequence or in any perceivably logical order.
- Robert C. Morgan ( New York, 2019 )
CAPRI, 1999 ACRYLIC AND MIXED MEDIA ON CANVAS 67 X 71 INCHES
CRESCENDO, 1997,
ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS, 22 X 37 INCHES
SEAFOAM DREAM, 1992,
ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS, 65 X 113 INCHES
SANCTUARY, 1997 ACRYLIC AND MIXED MEDIA ON CANVAS 60 X 54 INCHES
Creecy was clearly interested in making paintings on his own terms. Despite any influences that may have contributed to his work – if allowed to exist consciously within his paintings – the emergent forms would ultimately remain his own and uniquely attributed to his paintings.
THE BIRTH OF LIGHT, 2002 ACRYLIC AND MIXED MEDIA ON CANVAS 36 X 26 INCHES
STORMY MORNING, 1998 ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS 42 X 42 INCHES
Herbert Creecy often re-purposed and painted over canvases to unearth new compositions, pushing the spatial boundaries of the traditional picture plane. Creecy’s methodology allows his work to maintain its integrity and complexity in almost all orientations. What always remains is a pure painterly expression of an internal landscape.
TITILLATION, 2002 ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS 42 X 32 INCHES
WOMB, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 30 X 22 INCHES
WHILE IN THE THROES OF THINGS, 1997 ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS 66 X 91 INCHES
BRAZILIAN ROMANCE (1975 - 2001)
Brazilian Romance retains a higher contrast between the color tonalities, offering a greater sense of depth and definition of the natural forms. From the perspective of painting – call it abstract expressionism, if you will – the emphasis is clearly on the transition between the source of the artist’s vision and its purposeful devolu-tion into abstraction. These paintings express two different directions relative to form, namely, translucency and surface contrast. Having just described this visual phenomenon in literal terms, one might further clarify the artist’s extraordinary gift for painterly transformation as being an essential aspect of his subject matter. It is through this transformation that the artist’s Ego reveals a particular energy. The surface becomes something other than a material quantity. Rather Creecy has shown us a lyricism of vision through his desire to become part of what he is painting, in essence, to give us an experience that exceeds the normative, there-by moving our sensibilities inscrutably into the realm of art. Like secular missals, taken mysteriously outside of language, the paintings of Creecy hold the rapture of the unknown. His imagery focuses on the molecular as if suspended in transparent tidal pools hovering one above another as in his majestic Brazilian Romance Dream Currents (1991). The paintings from this series constitute a beckoning toward polychromatic adulation, fraught with sanctified agates or the gleaming scales of abalones bundling in silicon nets of tranquility. With Creecy it is difficult to discern, foretell, or negotiate one painting against another. There is little in the way of a criterion adequate enough to make that kind of comparison. - Robert C. Morgan ( New York, 2019 )
BRAZILIAN ROMANCE: PARADISE, 2001,
ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS, 67 X 108 INCHES
BRAZILIAN ROMANCE: DREAM CURRENTS, 1991,
ACRYLIC AND MIXED MEDIA ON CANVAS, 69 X 113 INCHES
BRAZILIAN ROMANCE: RHAPSODY, 1991,
ACRYLIC AND MIXED MEDIA ON CANVAS, 69 X 113 INCHES
BRAZILIAN ROMANCE: VALLEY AND CLOUDS, 1997 ACRYLIC AND MIXED MEDIA ON CANVAS 66 X 84 INCHES
BRAZILIAN ROMANCE: PANOPLY, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 66 X 78 INCHES
“I am a shapemaker. Underneath all this is a complex structure.” Herbert Creecy
BRAZILIAN ROMANCE: COBALT MOVEMENT, 2001 ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS 66 X 84 INCHES
BRAZILIAN ROMANCE: LAGOON, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 66 X 91 INCHES
BRAZILIAN ROMANCE: CONDUCT, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 67 X 80 INCHES
Each surface holds its own essential dimensionality, not merely in terms of width, height, and breadth, but a lingering depth of metaphysical purpose and distillation. Each painting holds its own bearing, its own separate conduit of inspiration, tenacity, and refinement. There is a purpose inducted within these paintings that reigns beyond the obvious. What we see is a kind of instantaneous surveillance honed through with honesty accompanied by a quiet reproach to any harrowing abscess that defies a perspicuous sense of gravity reeling outside the designation of truth. Robert C. Morgan ( New York, 2019)
THE DRAGON’S TENTACLES, 1999,
ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS, 67 X 147 INCHES
WINTER MOVEMENT, 1997,
ACRYLIC AND MIXED MEDIA ON CANVAS, 67 X 122 INCHES
BLACK DAHLIA, 1996,
ACRYLIC AND MIXED MEDIA ON CANVAS, 30 X 37 INCHES
“My perspective on the paintings of Creecy is that the sensibility of being “now” is what constitutes the present, which comes alive for anyone who takes the time to see his work as a contemporary experience that never goes away.” “As I have chosen to speak about the artist’s sensibilities as a painter as being in the present, the issue is not about the literal present but about “now” as opposed to the past being “then.” Robert C. Morgan ( New York, 2019 )
Given the method by which he worked, it could be said that Creecy liberated himself through the act of painting, what might be understood as a cognizance of temporality, an acute awareness of time. This might further suggest that his art carried with it a direct philosophical sense of being. It is possible that he understood his role as a painter as someone living through a moment in history wherein his art could be likened to a kind of existential realization that gave attention to himself and his mortality as being integral to the act of painting.
NUDE IN AUBERGINE, 1993 ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS 48 X 36 INCHES
BLUE NUDE, 1996 ACRYLIC AND MIXED MEDIA ON CANVAS 48 X 48 INCHES
NUDE IN ECSTASY, 1997,
ACRYLIC AND MIXED MEDIA ON CANVAS, 34 X 34 INCHES
Creecy explored the female form, with an explosive eroticism that reflected his passionate, often tempestous romantic relationships. In Creecy’s universe, feminine was liquid mercury - dazzling to behold, arousing man’s most primal and exalted instintics; at the same time capable of driving a man to either ecstasy or madness.
JADE NUDE, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 62 X 53 INCHES
SWIM, 1991 ACRYLIC AND MIXED MEDIA ON CANVAS 62 X 53 INCHES
DIVA, 1991 ACRYLIC AND MIXED MEDIA ON CANVAS 68 X 60 INCHES
LAPIS BLOOM, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 56 X 32 INCHES
ECLIPSE, 1995 ACRYLIC AND MIXED MEDIA ON CANVAS 56 X 48 INCHES
AS ABOVE, SO BELOW, 1996 ACRYLIC AND MIXED MEDIA ON CANVAS 36 X 26 INCHES
VALHALLA (2), 1996 ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS 24 X 24 INCHES
VALHALLA (1),1996 ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS 24 X 24 INCHES
FOUNDATION, 1992 ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS 18 X 18 INCHES
Even though Herbert Creecy hewed to a consistent vocabulary of shapes and forms throughout his career, the paintings drawn from private collections as well as Atlanta’s High Museum of Art, and the Museum of Contemporary Art of Georgia show a remarkable variety. The artist manipulated the palette, the density and the quantity of marks and shapes, as well as the amount of impasto (thickness of the paint), to create an array of moods and personalities. Many of the paintings read like landscapes, some with obvious references. But they more often made me think about music. If Jackson Pollock was Creecy’s spiritual mentor, Wassily Kandinsky (who linked abstraction and music) must be in there somewhere too. These paintings are orchestral compositions. Passages recall crescendo and glissando, andante and allegro. - Catherine Fox ( Atlanta, 2003 )
SHIELD, 1997 ACRYLIC AND MIXED MEDIA ON CANVAS 83 X 84 INCHES
Many of Herbert Creecy’s most powerful pieces utilize scale to hold the space and command the viewer’s attention. Much like his action Painting predecessors. Creecy wanted his work to push the boundaries of gallery walls, challenging the viewer’s field of vision and physical reach. Most works surpass the six – foot mark. A size where the human form becomes inferior to the work of art and where the [psychological weight of the image imposes not just physically. Consider the square described by Leonardo da Vinci’s Vitruvian Man – these pieces reside outside the box of human reach.
MANIFEST DESTINY, 1990 ACRYLIC AND MIXED MEDIA ON CANVAS 66 X 67 INCHES
CAVE, 1999 ACRYLIC AND MIXED MEDIA ON CANVAS 48 X 60 INCHES
HOODED HEAP, 1985 ACRYLIC AND MIXED MEDIA ON CANVAS 41 X 46 INCHES
SHEBA, 1988,
ACRYLIC, MIXED MEDIA AND COLLAGE ON CANVAS, 41 X 47 INCHES
“My perspective on the paintings of Creecy is that the sensibility of being “now” is what constitutes the present, which comes alive for anyone whoakes the time to see his work as a contemporary experience that never goes away.” Through a heightened awareness of himself in the act of painting, Herbert Creecy found a way to emancipate the hidden recesses of form. By necessitating the presence of form, he allowed painting to become his painting – a subjective involvement not only forhimself, but for his viewers as well. - Robert C. Morgan ( New York, 2019 )
Hebert Creecy was painting process personified. His course was always marked by exceptions: he was a colorist, but he made some monochromatic works; he was an abstractionist, but he made some representational works. He favored dispersed compositions, but he made some images with centralized elements. He was a painter, but he made sculptures, toys and “things.” In short, he was uncontainable except in the way that we will all be contained someday.
-Dan R.Talley ( 2016 ) Professor, Fine Arts Kutztown University, PA
CREVICE, 1997 ACRYLIC AND MIXED MEDIA ON CANVAS 68 X 79 INCHES
ESSENCE, 2002 ACRYLIC AND MIXED MEDIA ON CANVAS 30 X 30 INCHES
ORACLE, 2002 ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS 41 X 41 INCHES
The totality of an artist’s work, as in the case of Herbert Creecy, is difficult to summarize in that the diversity is often what clarifies the painterly sensibility rather than exterior notions of how paintings conform to one another. With Creecy, there is little in the way of conformity, which may read as an attribute that gives his work its ultimate strength. As I have chosen to speak about the artist’s sensibilities as a painter as being in the present, the issue is not about the literal present but about “now” as opposed to the past being “then.” My perspective on the paintings of Creecy is that the sensibility of being “now” is what constitutes the present, which comes alive for anyone who takes the time to see his work as a contemporary experience that never goes away.
- Robert C. Morgan ( New York, 2019 )
DILUVIAL, 1993 ACRYLIC AND MIXED MEDIA COLLAGE ON CANVAS 52 X 52 INCHES
WAR, 2001 ACRYLIC AND MIXED MEDIA ON CANVAS 84 X 96 INCHES
A NEW AGE, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 51 X 51 INCHES
RISE OF THE WESTERN WORLD, 1999 ACRYLIC AND MIXED MEDIA ON CANVAS 60 X 60 INCHES
SYNCOPATION, 1997,
ACRYLIC AND MIXED MEDIA ON CANVAS, 60 X 119 INCHES
BLADE, 1993 ACRYLIC ON CANVAS 69 X 26 INCHES
MANTIS, 1995 ACRYLIC AND MIXED MEDIA ON CANVAS 56 X 42 INCHES
SPARTAN, 1977 ACRYLIC AND MIXED MEDIA ON CANVAS 69 X 91 INCHES
BIO EDUCATION 1960 – 1964 Atlanta College of Art; Atlanta, GA 1964 S.W. Hayter Atelier 17, Paris 1958 – 1960 University of Alabama; Tuscaloosa, AL SOLO EXHIBITIONS 2018 A Legend Rediscovered, Bill Lowe Gallery, Atlanta, GA 2010 Herbert Creecy, The Jacqueline C. Hudgens Center for the Arts; Duluth, GA 2008 Promised Gifts from the Herbert Creecy Estate, The Museum of Contemporary Art of Georgia (MOCA GA); Atlanta, GA Paintings from the 1990s, Mason Murer Fine Art; Atlanta, GA 2007 Selected Works, Madison-Morgan Cultural Center; Madison, GA Mixed Media and Works on Paper: Herbert Creecy, Mason Murer Fine Art; Atlanta, GA SCEPTER, 1998 ACRYLIC AND MIXED MEDIA ON CANVAS 85 X 17 INCHES
2003 Herbert Creecy: Works from the Private Collections of the artist’s friends and patrons, MOCA GA; Atlanta, GA 2002 8th Annual Masters Series: Herbert Creecy: Curves, Swerves and Repetitions, City Gallery East; Atlanta, GA 1995 Herbert Creecy: Connectedness, Zinc Contemporary Art; Bluewater Bay, FL 1991 Herbert Creecy: Shakin’ Shanty 1982 – 1990, Wade Gallery; Los Angeles, CA Shakin’ Shanties ’83 – ’90, Novus, Inc.; Atlanta, GA 1990 Novus Gallery, Inc; Atlanta, GA Recent Paintings, Wade Gallery; Los Angeles, CA 1989 Herb Creecy, Alexander Gallery; Atlanta, GA 1988 Paintings 70s through 80s, Lamar Dodd Art Center, LaGrange College; LaGrange, GA Works on Paper, Highland Gallery; Atlanta, GA 1987 Paintings and Things ’66 – ’88, Nexus Contemporary Art Center; Atlanta, GA 1986 Herbert Creecy: Recent Paintings, Patricia Carega Gallery; Washington, DC
GROUP EXHIBITIONS 2019 Southern Thunder, Bill Lowe Gallery - Masterworks by Herbert Creecy, Thorton Dial, Michael David, Jimmy O’ Neal, Steven Seinberg and Maggie Hasbrouck; Atlanta, GA 2010 Twenty Georgia Masters, The Museum of Contemporary Art of Georgia (MOCA GA); Atlanta, GA 2010 Recent Acquisitions, The Museum of Contemporary Art of Georgia (MOCA GA); Atlanta, GA 2006 Light-Sound Intersections: Structure and Movement in Space and Time, The Museum of Contemporary Art of Georgia (MOCA GA); Atlanta, GA 2005 MOCA Majors (from the permanent collection of MOCA GA), MOCA GA; Atlanta, GA 2004 Wayne Kline and the Rolling Stone Press, MOCA GA; Atlanta, GA 2004 Selected Works: State of Georgia Art Collection, MOCA GA; Atlanta, GA 2002 Artists of the Heath Gallery: 1965 to 1998, MOCA GA; Atlanta, GA Georgia Triennial, Telfair Museum of Art; Savannah, GA 2001 Important Georgia Masters: Ed Moulthrop and Herbert Creecy, SunTrust Gallery; Atlanta, GA 1997 Progressive Art for a Progressive Alabama, The Partners Gallery of The Business Center of Alabama; Montgomery, AL Lithographs of Work by Atlanta College of Art Alumni, ACA Gallery 100
1993 Perspectives of Contemporary Art: Herbert Creecy, Sidney Guberman, Jim Touchton, Swan Coach House Gallery; Atlanta, GA 1992 10th Anniversary Visiting Artists Exhibition, Ewing Gallery of Art and Architecture, University of Tennessee; Knoxville, TN 1992 Original Stone (lithograph printed at the Rolling Stone Press), Gwinnett Council of Art; Lawrenceville, GA 1991 Selected Lithographs by Southern Artist (lithograph printed at Rolling Stone Press), Moody Gallery of Art, University of Alabama; Tuscaloosa, AL In and About Atlanta, Nexus Contemporary Art Center; Atlanta, GA Visiting Artist Exhibition: Painters Karen Shaw and Herb Creecy, Ewing Gallery of Art and Architecture, University of Tennessee; Knoxville, TN 1990 Master Prints from the Rolling Stone Press, Wesleyan College; Macon, GA Gesture/Fluidity/The Stroke, Chastain Gallery; Atlanta, GA Herbert Creecy and Whitney Leland: New Work, Cumberland Gallery; Nashville, TN 1989 Retrospective Show, Rolling Stone Press, Columbia Museum of Art; Columbia, SC Selected Lithographs from the Rolling Stone Press, Columbus Museum of Art; Columbus, GA 1988 Fall Exhibition, Swan Coach House Gallery; Atlanta, GA
CORPORATE AND PRIVATE COLLECTIONS
Mead Packaging Corporation; Atlanta, GA King & Spalding; Atlanta, GA Alston & Bird; Atlanta, GA Troutman Sanders; Atlanta, GA Kilpatrick Stockton; Atlanta, GA Paul Hastings; Atlanta, GA McKenna, Long & Aldridge; Atlanta, GA Powell Goldstein; Atlanta, GA Kutak Rock; Atlanta, GA Shearson Lehman Hutton American Express, Inc; Atlanta, GA Bank South; Atlanta, GA Waverly Hotel; Atlanta, GA Richard B. Russell Federal Building; Atlanta, GA Surf Air; Atlanta, GA Portman Properties; Atlanta, GA Barton Protective Services Inc; Atlanta, GA Patio Restaurant; Atlanta, GA Marra’s Restaurant; Atlanta, GA Marriot Marquis; Atlanta, GA National Bank of Georgia; Atlanta, GA Wilma Southeast; Atlanta, GA J.B. Sadler Ltd; Glenview, IL Heery International; Atlanta, GA American Telephone and Telegraph Corporation; Chicago, IL McDonald Corporation; Oak Park, IL Alabama Power Company; Birmingham, AL First National Bank of Birmingham; AL Chase Manhattan Bank; New York, NY
SELECTED BIBLIOGRAPHY
Wolf, Debra. Color Unfurled: The Joy is Palpable in Notable Georgia artist’s swirling, curving hues. Atlanta Journal Constitution. July 1, 2007.
Fox, Catherine. Creecy Through Thick and Thin. Atlanta Journal Constitution. July 27, 2003.
Millay, Amanda. Room to Remember: Collective exhibit honors Northside Artist. Northside Neighbor. July 16, 2003.
Fox, Catherine. Dynamic Art Mirrored Life of Herbert Creecy. Atlanta Journal Constitution. July 1, 2003
Nelson, Charles. Reviews Southeast: Atlanta (Georgia Triennial). Art Papers Magazine, July/August 2002.
Exhibition Catalogue, Georgia Triennial – Herbert Creecy, pages 19 -20, 2002.
Fox, Catherine. Bold, Beautiful & Brilliant: Herbert Creecy has a love affair with paint. Atlanta Journal Constitution, February 8, 2002.
Fox, Catherine. Something old, something new from 2 masters. Atlanta Journal Constitution. 2001.
Sanders, Luanne. Shack Showcase. Creative Loafing Atlanta. November 10, 1990. Pages 27 – 28.
Heath, Leanne B. The Town, The World. Southern Homes Magazine. Vol. 7 No. 3, (May/June 1989), pages 86 – 90.
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