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ART IN EMBASSIES

Installation view of painting



spacer Anne Neely has been part of the U.S. Art in Embassies Loan Program for over fifteen years. Here is one of her paintings above the sofa in Ambassador Godfrey's house in Belgrade, Serbia. The painting is titled Elegy for the Sea, 60" x 80", oil on linen, 2019. This program is part of the U.S. State Department and creates "a vital cross-cultural dialogue through the visual arts." (AIE site)


Image courtesy of Art in Embassies, U.S. Department of State

NEW YORK STUDIO SCHOOL FUNDRAISER

Anonymous Was a Masterpiece 2020

5x5



spacer Anonymous Was a Masterpiece is an annual event where artists submit small works with their names on the back of the image only. Folks choose what they like based on what they see, each for $150, and four of Anne's works are included!

It goes live on WEDNESDAY, December 9th at 7:00pm and runs through 7:00pm on December 16th. (You have to register and create an account to participate.) 


Click here for full details.

View work here.

INTERVIEW PUBLISHED ON DIRECTIONAL FORCES ONLINE JOURNAL

Directional Forces

Burn Over



spacer Anne was interviewed by online journal Directional Forces about her studio practice, her inspirations and her life as an artist.

Read the interview here.



Image: Burn Over, 47 x 60", oil on linen, 2020

ANNE NEELY PAINTINGS ACQUIRED BY THE ALEX KATZ FOUNDATION

Palace spacer Fodder



spacer The Alex Katz Foundation has purchased two paintings from the recent exhibition "Skirting the Line: Painting between Abstraction and Representation" at the Maine Center for Contemporary Art. Both paintings were part of the series "Hidden in Plain Sight".

Images:
Left — Palace, 14 x 11", oil on linen, 2017
Right — Fodder, 14 x 11", oil on linen, 2017

 

ANNE NEELY: TENDING THE GARDENS OF THE PLANET IN THE TIME OF CLIMAGE CHANGE

Installation View



spacer As an invited speaker in the Barry Art Museum's Free Fall Lecture Series, Anne Neely spoke about her engagement with environmental concerns through painting from her studio in Maine in a virtual presentation on Thursday, September 3 at 6:00 p.m.

View Anne's lecture here.

 

Image: Bloom, 60 x 52", oil on linen, 2014

 

HYPERALLERGIC ARTICLE ABOUT ANNE NEELY

Installation View



spacer In "Anne Neely's Ethical Abstractions" on Hyperallergic.com, Carl Little writes about Neely's response to the pressing issues of our day such as climate change, environmental water loss and immigration.

Read the article here.

 

Image: Changes in the Land, 56 x 72", oil on linen, 2019

 

AREA CODE ART FAIR, AUGUST 1–31, 2020

Installation View



spacer This new art fair’s main online section was juried by Octavio Zaya and showcases approximately 50 solo presentations by a diverse group of New England artists.

Anne Neely will be exhibiting recent paintings that reference continued concerns over our environment. For the last twenty years her work has focused on Climate Change and how it directly affects: Air Pollution, Deforestation, Wild Fires, and changes in the Ocean. One of the trademarks of her work on these issues is the balance of revealing both the beauty and the foreboding of Nature. To protect and cherish Nature is all we can do for our human selves to survive.

https://www.areacodeartfair.com

 

Image: Ode to Trees, 56 x 72", oil on linen, 2019

 

WATCH A WEBINAR DISCUSSION OF SKIRTING THE LINE: PAINTING BETWEEN ABSTRACTION AND REPRESENTATION



spacer Anne Neely is one of the three artists on this webinar with host Amy Rahn talking about their process and their paintings in Skirting the Line: Painting between Abstraction and Representation at CMCA, Rockland, ME. The exhibition will be on view until September 20, 2020.

 

 

TAKE A VIRTUAL TOUR OF SKIRTING THE LINE: PAINTING BETWEEN ABSTRACTION AND REPRESENTATION

Installation View

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Virtual tour: https://my.matterport.com/show/?m=bZYjxiQLsX1




Image: Installation view

 

 

REVIEW OF SKIRTING THE LINE: PAINTING BETWEEN ABSTRACTION AND REPRESENTATION

Hiding in Plain Sight

spacer Bob Keyes reviews Skirting the Line: Painting Between Abstraction and Representation in the Portland Press Herald, March 15, 2020.

Read the review here.





Image: Installation view.

 

 

SKIRTING THE LINE: PAINTING BETWEEN ABSTRACTION AND REPRESENTATION

Hiding in Plain Sight

spacer Anne Neely's paintings are included in Skirting the Line | Painting Between Abstraction and Representation along with work by Meghan Brady, Inka Essenhigh, Tracy Miller and Hannah Secord Wade at the Center for Maine Contemporary Art, 21 Water Street, Rockland, ME. The exhibition was originally scheduled for March 14 – June 7, 2020 but the museum is now closed to the public through April 30, 2020.

Take a virtual tour: https://my.matterport.com/show/?m=bZYjxiQLsX1

For additional information visit:
https://cmcanow.org/event/skirting-the-line-painting-between-abstraction-and-representation/





Image: Hiding in Plain Sight, 14 x 11", oil on linen, 2016

 

 

 

ANNE NEELY ARTIST TALK: WATER STORIES PAINTINGS/CLIMATE CHANGE CONVERSATIONS

Anne Neely

spacer Anne Neely will give an artist talk in conjunction with her current exhibiton of selected Water Stories paintings at Cove Street Arts, 71 Cove Street, Portland, ME on Thursday, December 12, 2019, 6–7:30 pm.

See Cove Street Arts website for more details about the talk: https://www.covestreetarts.com/events-1/artist-talk-anne-neely

More information about Water Stories: http://anneneely.com/pages/mos.html

 

 

 

SELECTED PAINTNGS FROM RECENT WATER STORIES EXHIBITION AT THE MUSEUM OF SCIENCE, BOSTON

Cove Street Arts installation view

spacer Selected paintings from Anne Neely's recent Water Stories exhibition at the Musuem of Science, Boston are on view through January 9, 2020 at Cove Street Arts, 71 Cove Street, Portland, ME. Opening reeption: Saturday, November 9, 2019, 1–3 pm.

See Cove Street Arts website for exhibition details: https://www.covestreetarts.com/exhibitions-1/current-anne-neely

More information about Water Stories: http://anneneely.com/pages/mos.html

 

 

 

FEATURED ARTIST IN NOVEMBER EDITION OF AGNI

AGNI Cover

spacer In the November 2018 edition of the literary magazine AGNI, published by Boston University, Anne Neely is the featured artist with her painting Blackbird Fly as the cover, 8 images in an insert and an essay about her painting practice. 

A Necessity: Fearful Symmetries

Today, 321 miles separate me from a remote fishing village in Down East Maine, an hour and a half beyond Acadia National Park and the same distance from the Canadian border.

This coastal town in Washington County, Jonesport, is filled with families of lobstermen, shellfish and seaweed factories, trucks loaded with produce from the sea, old people living in older houses, a marine supply store, a lumber yard, a hardware store, and a Post Office where the conversations are about septic systems, loam, and the weather. I share a cottage there with my husband and have a summer garden, tools, my father's wheelbarrow, and a studio with a view, eighty feet from the water.

For the first hour of my journey—driving back from Boston after a funeral—I keep the radio on for news, then listen to music. But soon after Portland I turn off all sound and go rogue in my mind for the remaining four hours. This prepares me for the silence and beauty at the end of my trip and opens me to all the small acts of nature I bear witness to. As I round the last bend on the country road, Roque Island looms across Chandler Bay, in the near distance and in partial fog, and where it ends the ocean goes to the horizon, then I imagine on to Portugal. I pull into the dirt driveway of my adopted home and come to a stop two hundred feet from the water.

In the last thirty years most of my paintings have begun or were imagined or conceived of in this place. Whether I am scanning and scraping the insides of my life, or facing outward to the ocean and horizon, I move through whatever it takes to make a painting, here.

Tired after the long drive and frustrated by a fruitless vigil to see a Perseid shower spoiled by fog, I wake early to the rumble of boatsmoving flotilla-like across the bay, checking their traps, countered by the loud call of crows. It must be low tide, and an eagle must be on the rocks, eating a duckling. It happens here. On the porch, it's a cool, still morning. The wind doesn't usually breeze up until eleven. Two hummingbirds are fighting violently over a feeder that has plenty of room for both. Last night is still haunting me—the early promise before fog rolled in and covered the show. But as I look at the hummingbirds, another memory takes its place: the back seat of our wood-paneled station wagon, me at thirteen sandwiched between my enthusiastic older sister and my larger-than-life younger brother, struggling to get myself heard. It's a ragged memory, torn and put into a drawer, yet it pops up and becomes the scaffolding for my next painting this afternoon. It starts in me now with the color green—something groping to be expressed, a regeneration after adolescent envy.

Everything is a flat gray today—the sky, the clouds, the tidal waves licking the shore. On flat gray days, every sound becomes louder, the trees turn greener, and grasses brighten. The horizon has dissolved into the sky, leaving the ocean without definition. Large shapes are swallowed up easily here.

When I first came to Jonesport, all I wanted to do was paint what I saw, the immense beauty and space surrounding me. Within a few years this urge to represent began to chew my insides so much, made me feel so inadequate, that I decided to internalize what I saw instead, and save the joyful, restorative act of just-looking for just looking. I began to work more from my imagination and to think of my brushstrokes as part of a visual language for emotions and ideas. Everywhere I looked there was life, and within life, stories from the land: the ever-changing thirty-year-old perennial garden, the dense firs that wanted thinning, the dying birch trees that needed to be cleared away. Stories became more important than appearances. Moss creeping over a fallen tree, the slow continuous march of deconstruction, reminds me that everything is alive, rich with color and form, even as it decays into hues of rust and ochre. In late summer the crickets pitch against the stillness, joining the lobster boats' roar, alto and soprano. They are my personal symphony, calm and urgent simultaneously. This month, on the edge of the blueberry barrens, colored cartons lie alongside the road for the berry rakers, mostlymen and women (sometimes children) looking like the Millet painting of the gleaners.

In my studio, the work I left behind while visiting Boston hasn't changed of course, but somehow it looks different to my eye. If it looks better, I am relieved only momentarily, because sooner or later I'm compelled to re-enter the conversation between my inner voice and the marks I've made. With each brushstroke, ferocious or tender, I want the color to surprise me with a form that suddenly makes the painting right. To return to a painting is—like trying to come to terms with a death—a renewed experience of seeing what the absence of something means.

The afternoon is young, so I decide to do the kind of pour that provides the base for most of my large paintings. I mix up a bunch of colors and, mulling over this morning's idea, put them into my favorite after-dinner decaf Bustelo cans, then drag a canvas onto the deck of the studio to begin splashing paint. Plastic is down under the deck to catch any that gets through, to appease my environmental conscience. But this time, when I step back, I am more struck by the beauty of the paint on the deck than on the canvas. Tomorrow will be good weather to try again. A little disappointed with myself, I take solace in a late-afternoon kayak. The horizon is clear, the midmorning wind has calmed, and the ocean looks like silk now, separate from the sky.

Between Roque and Ballast Islands is open water. It forms the horizon that stretches into a pastel-white smudge with a thin, pale, blue-gray line underneath. I start paddling, toward where I'm convinced Portugal must exist. I know I am going out too far for my lake kayak, but the vastness, the wholeness, the fullness draw me on and make me euphoric. I'm farther out than ever before, and, seeing a loon ahead of me, I follow it, mesmerized. The sensation is very strange. Suddenly and clearly, I feel I am witnessing my own mortality— not my death, but my smallness. I could disappear into the sea, gazing into the infinity of this opened sky. T he loon is solo, unusual for them, as they like partners. It dips under the water, then surfaces, and after a time, it heads back toward the now-distant shore. I follow.

[first published in the BU Literary Journal AGNI, Issue. 88, November 2018]

 

OPEN STUDIOS AT 535 ALBANY STREET, BOSTON

Open Studios Poster

 

Blue Zone

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Anne Neely is participating in the 535 Albany Street Studios' Open Studios on Friday, November 2, 2018, 5–8 pm. Her studio is located on the 4th floor. On view will be new work including watercolors from Jonesport, Maine and recent paintings.

For additional information and directions: www.535.artsouthend.com

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Image: Blue Zone, 14" x 11", oil on linen, 2018

 

 

BARRY ART MUSEUM, OLD DOMINION UNIVERSITY, NORFOLK, VA

Bloom

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The painting Bloom from Anne Neely's 2014 Water Stories exhibition at the Museum of Science Boston will be part of the opening exhibition at the new Barry Art Museum, 4600 Monarch Way on the Old Dominion University campus in Norfolk, VA.

 

 

 

 

 



Image:
Bloom, 60 x 52", oil on linen, 2014



REVIEW OF ANNE NEELY: HIDDEN IN PLAIN SIGHT, CUE ART FOUNDATION, NEW YORK, NY

Wish

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Jonathan Goodman reviews "Anne Neely: Hidden in Plain Sight" on ArteFuse.com, November 21, 2017.

Read the review here.

 

 

ANNE NEELY: HIDDEN IN PLAIN SIGHT, CUE ART FOUNDATION, NEW YORK, NY

Wish

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Hidden in Plain Sight, a solo exhibition of Anne Neely's new paintings curated by Sarah Sze, will be on view November 2 – December 16, 2017 at the CUE Art Foundation, 137 W. 25th Street, New York, NY. Opening November 2, 6-8 pm. Gallery hours are Tuesday–Saturday 10 am – 5:30 pm.

EVENT
Anne Neely and David Cohen in Conversation

Wednesday, November 15, 6 pm
Anne Neely in conversation with David Cohen, editor and publisher of artcritical.com is free and open to the public.

More info and RSVP: http://cueartfoundation.org/events/anne-neely-and-david-cohen-in-conversation

PRESS
Goodman, Jonathan, "Anne Neely at the CUE Art Foundation," ArteFuse.com, November 21, 2017

Xu, Wendy, "One Poem by Elisa Gonzalez," Hyperallergic.com, November 15, 2017

EXHIBITION CATALOG
View .pdf
>



Image:
Wish, 14 x 11", oil on linen, 2017

 

EXPANDING ABSTRACTION: NEW ENGLAND WOMEN PAINTERS, 1950 TO NOW,
DECORDOVA SCULPTURE PARK AND MUSEUM

Reversing Tides

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Anne Neely is included in Expanding Abstraction: New England Women Painters, 1950 to Now at the deCordova Sculpture Park and Museum, 51 Sandy Pond Road, Lincoln, MA, April 7 – September 17, 2017.

Additional information: www.decordova.org

 

 




Image:
Reversing Tides, 45 x 60", oil on linen, 2005–08


THINKING ABOUT WATER, METROPOLITAN WATERWORKS MUSEUM, CHESTNUT HILL, MA

Troubled Waters

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The group exhibition Thinking About Water: Artists Reflect includes work by Anne Neely and will be on view March 22 – June 30, 2017 in the Overlook Gallery of the Metropolitan Waterworks Museum, 2450 Beacon Street in the Chestnut Hill section of Boston, MA. Opening reception: Wednesday, March 22, 7–9 p.m.

Additional information: www.waterworksmuseum.org



 

 


Image:
Troubled Waters, 52 x 60", oil on linen, 2012


535 ALBANY STREET, BOSTON OPEN HOUSE

Japan

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Anne Neely is participating in 535 Albany Street Studios' Open House on Thursday, October 27, 2016, 5–8 pm. Her studio is located on the 4th floor. On view will be newly imagined paintings and watercolors thinking about and looking at water as well new experimentations with forms during time spent in Japan, Ireland and Maine.

For additional information and directions: www.535.artsouthend.com

 




Image: Japan Observed, 16" x 20", watercolor, 2015



ANNE NEELY — IRELAND: PLACE AND RITUAL, PAUL DIETRICH GALLERY AT C7A, CAMBRIDGE, MA

Fen

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Ireland: Place and Ritual, a solo exhibition of paintings and watercolors by
Anne Neely, will be on view April 11 – July 8, 2016 at the Paul Dietrich Gallery at C7A, located at 1050 Massachusetts Avenue, 5th Floor, Cambridge, MA. An artist Reception and talk will be held on Wednesday, April 13, 2016, 5:30 – 7:30 pm. Gallery hours are Monday–Friday 9–5.

For additional information: kbarthur@c7a.com.

 

 




Image: Fen, 60 x 80", oil on linen, 2016

 

ANNE NEELY WATER STORIES: CONVERSATIONS IN PAINT AND SOUND, OLD DOMINION UNIVERSITY, NORFOLK, VA

Ireland, Sea and Sky Series

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Anne Neely Water Stories: Conversations in Paint and Sound, an exhibition of paintings accompanied by the soundscapes of sound artist Halsey Burgund, will be on view in the Baron and Ellin Gordon Art Galleries, Old Dominion University, Norfolk,VA Saturday, January 16 - Sunday, March 13 with an opening reception on Friday, January 15, 5-7pm.

For hours and more information: call 757-683-6271

 

 




Image: Spill, 70 x 92", oil on linen, 2014

 

ANNE NEELY — TRANSFORMING PLACE, LEHMAN ART CENTER AT BROOKS SCHOOL, N. ANDOVER, MA

Ireland, Sea and Sky Series

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TRANSFORMING PLACE: Images from Maine, Ireland, and Japan, a solo exhibition of watercolors, is on view at the robert lehman art center at brooks school, 160 Great Pond Road, North Andover, MA, November 2 through December 18. The opening reception is November 5, 6:30 pm. Gallery hours are Monday through Friday, 7:30 am to 10 pm, and Saturday 9:00 am to noon.

For more information visit www.brooksschool.org/lehman



Image: Ireland, Sea and Sky Series, 10" x 15", 2015

 

ANNE NEELY WATER STORIES, KATHRYN MARKEL FINE ARTS, NEW YORK, NY, 2015

Splash


Anne Neely Water Stories from Anne Neely on Vimeo.


spacer Anne Neely: Water Stories is on view at Kathryn Markel Fine Arts, 529 West 20th Street 6W, New York, NY from April 23 through May 23. The opening reception is Thursday, April 23, 6–8 p.m. Gallery hours are Tues-Fri 10:00-6:00 and Saturday 11:00-6:00.

More info >

View catalog >
Riverkeeper
There will be a Riverkeeper event on April 30th at the Gallery. A portion of painting sales will go to Riverkeeper.

For more information call the gallery at (212) 366-5368






Image: Splash, 60 x 80", oil on linen, 2014



ANNE NEELY WATER STORIES PROJECT: A CONVERSATION IN PAINT AND SOUND,
MUSEUM OF SCIENCE, BOSTON, 2014

Peak spacer

A multi-media project titled "Water Stories: A conversation in paint and sound" opened at the Museum of Science Boston in July of 2014 and will be accompanied by other programs, lectures and films related to water. This exhibition consists of paintings dealing with the beauty and foreboding we face with the water issues in this country through either climate change or man-made problems. Sound artist Halsey Burgund has created a 35 minute audio composition that accompanies the paintings, comprised of five sections grouped by thematic content: The Future, Stories, Bad Things, Science and Cherish. The voices are edited and combined with water sounds and musical elements and play in a continuous loop throughout the gallery. This project was started in 2012.

Read more, see a video and images >

Museum of Science, Boston exhibition info >

Boston Globe article >

Scientific American blog >

Here & Now feature >


Image: Peak, 60 x 80", oil on linen, 2013–2014



ANNE NEELY WATER STORIES BOOK AVAILABLE

Water Stories Book Cover spacer

A 60-page book created to accompany Anne Neely: Water Stories at the Museum of Sciene, Boston is now available. The full-color book includes a foreward by David Rabkin, Farinon Director for Current Science and Technology, Museum of Science, Boston, and essays by NY-based writer and critic Lilly Wei and National Geographic Freshwater Fellow Sandra Postel.

View .pdf of book >

Contact Anne Neely for information about ordering the book >



ANNE NEELY INCLUDED IN TRUE MONOTYPES AT IPCNY, 2015

IPCNY spacer True Monotypes curated by Janice Oresman is on view March 26 - May 26 at the International Print Center New York, 508 West 26th Street, Room 5A, New York, NY 10001

More info >

 

ANNE NEELY AT CENTER FOR MAINE CONTEMPORARY ART, ROCKPORT, ME, 2012

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"Counterpoint III: A Joint Exhibition of Paintings by Anne Neely & Sculpture by Tom Chapin" is on view August 4 – September 22 at the Center for Maine Contemporary Art, Rockport, ME. Opening reception August 4, 5:00–7:00 pm.

Catalog available.

For more information visit www.cmcanow.org.




Image: Bog, 36 x 44", oil on linen, 2012

 

 

RETHINK INK: GROUP SHOW AT BOSTON PUBLIC LIBRARY, 2012

Squall spacer

Rethink Ink: 25 years at Mixit Studios is on view at the Boston Public Library, Copley Square, Boston, MA from April 12 through July 31. Visit www.mixitprint.com for more information.






Image: Squall, etching, 2.5" x 3.75", 2012

 

 

BOSTON TEN AND BEYOND: GROUP SHOW AT DANFORTH MUSEUM OF ART, FRAMINGHAM, MA, 2012

Untitled spacer Boston Ten and Beyond: Collaborations, a show of more than 30 collaborative pieces recently acquired by the Danforth Museum of Art, 123 Union Avenue, Framingham, MA, March 4 – May 20.









Image: Untitled, 10 x 7", mixed media on paper (Anne Neely, Morgan Bulkeley, David Phillips)

 

 

RECONFIGURING LANDSCAPE: A LECTURE AND A PAINTING WORKSHOP AT HARVARD GSD, 2012

GSD painting workshop spacer "Reconfiguring Landscape," a lecture and painting workshop, was given to students at the Harvard Graduate School of Design during JTerm 2012.

 



SOLO EXHIBIT AT LOHIN GEDULD GALLERY, NEW YORK, NY, 2011

Mopang spacer A solo exhibit, "Mopang: Recent Paintings", is on view at Lohin Geduld Gallery, 531 West 25th Street, New York, NY from September 7 through October 8, 2011, with an opening reception September 8, 5–7 pm.

A catalog with essay by Jonathan Franzen accompanies the exhibit.




Image: Mopang, 60 x 80", oil on linen, 2010



GROUP EXHIBIT, HINGHAM SHIPYARD GALLERY, HINGHAM, MA, 2011

White Rain spacer Anne's work is included in a group exhibit of work by MCC Fellows at the South Shore Art Center, Shipyard Gallery, Hingham, MA from January 8 to Feb 22, 2011.




Image: White Rain, 11 x 14", oil on linen, 2008–09


SOUTH END, BOSTON OPEN STUDIOS, 2010

Water's Edge spacer Anne particpated in South End Open Studios in Boston September 25–26, 2010. Her studio is located at 535 Albany Street.




Image: Water's Edge, 11 x 14", oil on linen, 2007


GROUP EXHIBIT AT SUN VALLEY ART CENTER, KETCHUM, ID, 2010

Just the Elements spacer Anne's work is included in "Water", a group exhibit at the Sun
Valley Art Cente in Ketchum, Idaho from September 13 through November 6, 2010.









Image: Just the Elements, 60 x 85", oil on linen, 2007–08

 

GROUP EXHIBIT AT LOHIN GEDULD GALLERY, NEW YORK, NY, 2010

Mudflat spacer Anne's work is included in "Large/Small" at Lohin Geduld Gallery, New York,
July 18 – August 31, 2010.






Image: Mudflat, 36 x 44", oil on linen, 2008

 

NEW AMERICAN PAINTINGS, 2010

Waterborne spacer Anne's work is included in the Northeast competition edition of New American Paintings.

Juror Monica Ramirez-Montagut, Curator of the Aldrich Contemporary Art Museum writes of Anne's work: "Her paintings imagine an environment that goes beyond the human surface into the underground, exploring the possible colors and textures of sediment and strata. They depict wonderful surprises, like large bodies of water, yet the richness and possibility evident in these invented landscapes exist on planes not accessible to us."

Image: Waterborne, 24 x 32", oil on linen, 2008



SOLO EXHIBIT AT DANFORTH MUSEUM OF ART, FRAMINGHAM, MA, 2010

Waterlines
spacer A solo exhibit, "Waterlines", was on view at the Danforth Museum of Art, 123 Union Street, Framingham, MA, March 20 – May 16, 2010.

This exhibit pays homage to lakes, aquifers and oceans threatened by the Environment and climate change. A concern for the disappearance of Nature as a place to go and be is deeply embedded in this body of work.

While working mostly from her imagination, Neely creates places that are a conglomerate of many landscapes she has seen and absorbed over her lifetime and also from spending summers in Maine. There will be an artist’s talk on May 9th at 3:00pm.

Image: Waterlines, 11" x 14", 2010, oil on linen


Boston Sunday Globe Review

McQuaid, Cate. "Variations on space, depth, shadow," Boston Sunday Globe, April 18, 2010

"...'Surprise', shows off this artist's deft touch, her playful, daring gift for color (the palette here is downright giddy), and the satisfying way she balances pattern with passion....Every piece of 'Surprise' lives up to its title, from the sensual, glistening sky to the drippy wash of greens and browns, like root systems digging into that violet half-circle, to a wild patchwork of green, gold, and pink in the background, like geological stratifications mingling under the earth's surface."

Read the full review.

Surprise

Image: Surprise, 45 x 60", oil on linen, 2009




MASSACHUSETTS CULTURAL COUNCIL ARTIST FELLOWSHIP FINALIST, 2010

Ollegalla spacer Anne Neely was a finalist for a Massachusetts Cultural Council Artist Fellowship in the Painting Category for 2010.



Image: Ollegalla — Running Water, 45" x 96", 2008, oil on canvas



FUNDRAISER/SILENT AUCTION FOR HAITI AT LOHIN GEDULD GALLERY, 2010

Oh Haiti spacer Anne participated in a fundraiser/silent auction for Haiti at the Lohin Geduld Gallery, March 25–27, 2010.

For more details call (212) 675-2656 or info@lohingeduld.com.

Image: Shining Through, 11" x 14", 2010, oil on linen



PAINTINGS AT UNIVERSITY OF SOUTHERN NEW HAMPSHIRE, 2010

Sediment spacer A selection of paintings was on exhibition from January 22 to April 4 in the President's building at the University of Southern New Hampshire.