IMPACT 307
36"x 60: x 3” INCHES
OIL ON CONCAVE PANEL
IMPACT 307
36"x 60: x 3” INCHES
OIL ON CONCAVE PANEL
CREIGHTON MICHAEL - BIO
Lives and works in New York, NY
1949 Born, Knoxville, TN
EDUCATION:
Washington University, St. Louis, Missouri, M.F.A.; 1978 (Painting/Multi-Media)
Vanderbilt University, Nashville, Tennessee, M.A.; 1976 (Art History)
University of Tennessee, Knoxville, Tennessee, B.F.A. Honors; 1971 (Painting)
SELECTED SOLO EXHIBITONS:
VIVID: New Paintings, Galerie Egelund, Copenhagen, Denmark; 2009
CURSIVE: Creighton Michael, Belger Arts Center, Kansas City, Missouri; 2008
Creighton Michael, Lesley Heller Gallery, New York City; 2008
SQUIGGLElinear, Center for the Arts, Towson University, Baltimore, Maryland; 2007 travels to the Delaware Center for the Contemporary Arts, Wilmington, Delaware; 2008
Wavelengths: The Drawings of Creighton Michael, Hafnarborg, Hafnarfjörður; Start Art, Reykjavík, Iceland;2008
CIPHER, NCC Art Gallery, Norwalk Community College, Norwalk, CT; 2008
Creighton Michael: PLANE DRAWING, The Baker Center for the Arts, Muhlenberg College, Allentown, PA; 2008
Graphite: Drawings and Installation Works, Robischon Gallery, Denver, Colorado; 2006
Intersection: Works by Creighton Michael, The Arts Center, St.Petersburg, Florida; 2006
VantagePoint IV Creighton Michael: Patterns of Perception, Mint Museums, Charlotte, North Carolina; 2005
Articulated Spaces: Paintings by Creighton Michael, University of Richmond Museums, Richmond, VA; 2003
Creighton Michael: Dialects of Lineselected works 1985-2003, Collaborative Concepts, Beacon, NY: 2003 (includes a collaborative installation with composer, John Morton)
Mark To Multiple, The von Liebig Art Center, Naples, FL: 2003
Between: New Paintings and Wall Drawings, Kenise Barnes Fine Arts, Larchmont, New York; 2002
Art At The Edge: Creighton Michael, High Museum of Art, Atlanta, GA; 1987 traveled to St. Louis Gallery of Contemporary Art, St. Louis, Missouri; 1988; (catalogue essay by Susan Krane)
Craig Cornelius Gallery, NYC; 1987, 1985
SELECTED GROUP EXHIBITONS:
Scavengers, David Winton Bell Gallery, Brown University, Providence, RI; 2009
American Abstract Artists: Tribute to Esphyr Slobodkina, The Painting Center, New York, NY; 2008
Leaded: The Materiality and Metamorphosis of Graphite, University of Richmond Museums, Richmond, VA; 2007 travels through 2009
Material Matter, Sideshow Gallery, Brooklyn, New York; 2007
Cursive, Artist Commune, Hong Kong, China; 2007
Monumental Drawings, Blue Star Contemporary Art Center, San Antonio, TX; 2007 (Barbara MacAdam, curator)
Continuum, celebrating the Seventieth Anniversary of the American Abstract Artists, St. Peter’s College Art Gallery, Jersey City, NJ; 2007
Current, Robischon Gallery, Denver, CO; 2007
EELight, a collaboration with Bill FitzGibbons, the LAB, New York City; 2006
GRID: Structure and Process, Kreft Gallery, Concordia University, Ann Arbor, MI; 2006 travels to Wooster Arts Space, NYC; 2007
SENSi/aBLE SPACES: Space, Art and the Environment, University of Iceland, Reykjavík, Iceland; 2006
GROUP 1, Lesley Heller Gallery, New York, New York; 2006
PAGES, I Space, University of Illinois, College of Fine and Applied Arts, Chicago, IL; 2005 (organized by Buzz Spector)
Optical Simulations, Yellow Bird Gallery, Newburgh, New York; 2005
IDEAL: Selections from the American Abstract Artists, Metaphor Contemporary Art, Brooklyn, New York; 2005
In Line, Rockland Center for the Arts, West Nyack, New York; 2005 (brochure)
Cursive, Tenri Cultural Institute of New York, NYC; 2005 (brochure)
Dimensional Line, Munson-Williams-Proctor Arts Institute Museum of Art, Utica, NY; 2004 (brochure)
Synthesis: Experiments in Collaboration Grossman Gallery, Lafayette College, Easton, PA; 2003; Axel Raben Gallery,New York City; 2004
The Essence of Line, Concordia Gallery, Concordia College, Bronxville, NY; 2004
Art in Embassies Exhibition, Zagreb, Croatia; 2003-2006
Art in Embassies Exhibition, Nicosia, Cyprus; 1999-2002
Body Language, Islip Art Museum, East Islip, NY; 2002
Outside In, Arvada Center for the Art and Humanities, Arvada, CO; 2002
“ Reactions:” ExitArt/The First World, NYC; 2002
Body Work, The Workspace, NYC; 2001
Act of Drawing, Tompkins College Center Gallery, Cedar Crest College, Allentown, PA; 2001
Lines, Kiang Gallery, Atlanta, GA; 2001
RE: Drawing, Kenise Barnes Fine Art, Larchmont, NY; 2001
Another Story Altogether: Abstraction in Painting Today, Castle Gallery, College of New Rochelle, NY; 2000
End Papers: 1890-1900 and 1990-2000. Neuberger Museum of Art, Purchase, NY; 2000 (catalogue)
Abstraction, Robert Kidd Gallery, Birmingham, MI; 1999
Selected Works From The New York Collection, Albright- Knox Art Gallery, Buffalo, NY; 1999
Small Abstractions, Kim Foster Gallery, NYC; 1999
MA(R)KING: A Survey of Artist Mark Making in 1999, Central Arts, Tucson, AZ; 1999
Cynthia Hawkins/ Creighton Michael, Hopper House Art Center, Nyack, NY; 1995
Natural Fantasy, Choate House Gallery, Pace University, Pleasantville, NY; 1995
Drop Dead Painting, 103 Reade Street, 2nd Floor, partially funded by the Igor Foundation, NYC; 1994
A View To The Future: Recent Acquisitions, David Winton Bell Gallery, Brown University, Providence, RI; 1994
1994 National Drawing Invitational, Arkansas Art Center, Little Rock, AR; 1994 (catalogue)
Art on Paper, Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC; 1993 (catalogue)
First Sightings: Recent Modern and Contemporary Acquisitions, Denver Art Museum, Denver CO; 1993
55 Ferris Street III, 55 Ferris Street, Brooklyn, NY; 1993 (catalogue)
Seven Sculptures, Mandeville Gallery, University of California, San Diego, CA; 1990
Working on Paper: Contemporary American Drawings. High Museum of Art, Atlanta, GA; 1990
In the Making: Drawings by Sculptors, The Sculpture Center, NYC; 1988
Innovations in Sculpture, Aldrich Museum of Contemporary Art, Ridgefield, CT; 1988
SELECTED COLLECTIONS:
American Express
AT&T
Edward Albee
The John and Maxine Belger Family Foundation, Kansas City, Missouri
David Winton Bell Gallery, Brown University
The Brooklyn Museum
Denver Art Museum
Hafnarborg Institute of Culture and Fine Art, Hafnarfjörður, Iceland
High Museum of Art
Markel Service, Inc., Richmond, VA
Meeschaert USA, New York and Paris
Mint Museum of Art, Charlotte, North Carolina
Munson-Williams-Proctor Institute Museum of Art
National Gallery of Art, Washington, D.C.
Neuberger Museum of Art, Purchase, New York
New York University
Pfizer, Inc
Progressive Corporation
Prudential
R.I.S.D. Museum of Art
University of Richmond Museums
Vanderbilt University
Weatherspoon Art Gallery, UNC
SELECTED BIBLIOGRAPHY:
Anon. “Itinerary,” SCULPTURE, Volume 24, Number 3, Washington, D.C., April 2005; page15 (Squiggle, 2005)
Anon. Arts & Antiques, October 1988; page 52, (Cromlech, 1987)
Bass, Ruth.“ Up Now, New York Reviews”; Creighton Michael: Kim Foster, ARTnews, Volume 98, Number 8,
New York City, September 1999; page 145 (PM 793, 1993)
Brenson, Michael. “ Forces of Nature,” The New York Times, New York City, 27 July 1990; Section C, p. 22
Brenson, Michael. “ Sculpture Breaks the Mold of Minimalism”, The New York Times, New York City, 23 November 1986; page 33
Brunetti, John. “ The Transcendentalism of Creighton Michael”, exhibition essay, Visual Matrix Paintings/Drawings 1997-1999, Elmhurst Art Museum, Elmhurst, IL; 2000
Castle, Ted. “ Review of Exhibitions: Creighton Michael at David Beitzel and Pence”, Art in America, New York City, May 1989; page 204, (Widsith 2, 1988)
Cameron, Dan. “ Ten To Watch,” Arts Magazine, Volume 61, No.1, New York City, September 1986; pgs 40-42 (Luftschiff Richter, 1986 )
Dickenson, Carol V. “ Denver: Creighton Michael: Robischon,” ARTnews, Volume 94, Number 4, New York City, April 1995; page 154 (Interval 194, 1994)
Donohoe, Victoria. “ Entwining Drawing and Sculpture,” The Philadelphia Inquirer, Philadelphia, PA, 21 September, 1997; p 11 (Narrative196, 1996)
Dreishpoon, Douglas. An introductory essay for the exhibition catalogue, The Sculptural Membrane, Sculpture Center New York City; (Blind Horn, 1985)
Frank, Peter. “ Art Picks of the Week”, L.A. Weekly, Vol. 12, No. 51; 1990
Frank, Peter. “ Constructed Image/Constructed Object”, for the exhibition catalogue Constructed Image/Constructed Object, Alternative Museum, New York City; 1984; page 16-17 (Bishop-Widow, 1982), (Cloakwing, 1982)
Genocchio, Benjamin. “Some Rich Pickings For the Art Lover”, The New York Times, New York City, October 2, 2005;WE, page 6
Goodman, Jonathan. Review of Exhibitions: “Creighton Michael at Kim Foster”, Art in America, New York City,July 1998; page 98 (Dust 897, 1997)
Handy, Ellen. “ New York In Review: Creighton Michael” Arts Magazine, New York City, January 1989; pages 98 and 99
Hanzal, Carla. Creighton Michael: Patterns of Perception, catalogue essay, Mint Museum of Art, Charlotte, North Carolina, 2005
Harper, Glen. “ Reviews”, Art Papers, Vol. III, No. 6, November-December 1987; pages 50 and 51 (Bishop- Widow, 1982)
Iwasaki, Hitomi. Creighton Michael: Paintings 1995-1998, exhibition essay, Queens Museum of Art at Bulova Corporate Center, Queens, New York; 1998 (Notation 598, 1998)
Johnson, Ken. “ Art Guide,” The New York Times, New York City, 7 November 1997; Ep38
Keane, Dan, “Living History” NY Arts November/December 2005, vol.10, No.11/12; pages 78 and79 (Field 3405, 2005)
Lombardi, D. Dominick. “Beacon, New York: Creighton Michael,” SCULPTURE, Volume 23, No.7,
September, 2004; pages 68-69 (Luftschiff4, 1986)
Melrod, George. “ Reviews/Creighton Michael,” ARTnews, New York City, October 1992; page 136 (Conifer 1292, 1992)
Melrod, George. “ Reviews/Creighton Michael”, ARTnews, New York City, March 1991; page 136; (Navigator4, 1990)
Myers, Terry R. “ What’s My Line?”, catalogue essay, Out of Line II: Abstract Painting and Sculpture, The Police Building, OIA, New York City, 1994 (MP 793, 1993)
Nadelman, Cynthia. “ Recent Drawings by Sculptors: A Common Language,” Drawing, New York City, July- August 1994; page 25-28 (Aquifer, 1993)
Nadelman, Cynthia. “ Gabo’s Progeny”, ARTnews, New York City, December 1987; pages 123-127, (Spiderwing, 1987), (Auk, 1987) and a portrait of the artist
Naves, Mario, “ Currently Hanging; Creighton Michael; Strength in Sculpture,” The New York Observer, New York City, 11 October 1999; page 17
Princenthal, Nancy, Creighton Michael: Constructions 1990, essay, Ruth Siegel Gallery, New York City;1991;
Ryan, Paul, Reviews / Mid-Atlantic: Richmond, Virginia, ART PAPERS, Atlanta, Georgia, January / February 2004, page 46 (Pulse 401) 2001
Schwendenwein, Jude. “ Creighton Michael: Review,” Artforum, New York City, January 1989; page 117 (Dunadd, 1986)
Tanguy, Sarah. “Creighton Michael: Center for the Arts Gallery, Towson University,” SCULPTURE, Volume 26, No.7, September 2007; pages 73-74 (SQUIGGLElinearB206)
Vicker, Marcia. “ Bullish in Bankruptcy”, Business Week, New York City, 1 April 2002; page 71, (Dow Cow, 2000)
Wei, Lilly. “ Creighton Michael and Bill FitzGibbons: EELight”, ARTLIES, Houston, Texas, Spring 2007; page 121
Westfall, Stephen. “ Review of Exhibitions: Creighton Michael at Craig Cornelius,” Art in America, New York City, page 158 (Kyoto, 1986)
Wilkin, Karen. “ At the Galleries,” Partisan Review, Boston, MA, Vol. LXVI, No. 4; 1999; page 647
Wolfe, Townsend, 5th Biennial National Drawing Invitational, The Arkansas Art Center, Little Rock, Arkansas; 1994; pages 49-51, page 50 (Aerial 393), 1993) page 51 (Aquifer, 1993)
Zimmer. William “Shadows and Clarity, in Quietly Elegant Lines”, The New York Times, New York, New York, 26 October, 2003; WE, page10 (63001, 2001)
Zimmer. William “ For Artists, a Vacation Just Means a New Landscape”, The New York Times, New York City, 3 June 2001; WE, page 12 (photograph of the artist)
CREIGHTON MICHAEL - STATEMENT
My work continues to explore various facets of drawing from its material composition, its physical articulation associated with process/creation and its involvement with emerging patterns to its relationships with other marking activities such as notation, choreography and calligraphy.
