Anne Neely
Water Stories

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Where There's Water
Lohin Geduld Gallery, 531 West 25th Street, New York, NY
March/April 2009

Where There's Water Joker
Inward Lakes Surprise
Mudflat Navigation
A Front

"Though many of the 14 oil-on-linen paintings (all 2008 or '09) in "Where There's Water," Anne Neely's third solo exhibition at Lohin Geduld, pay homage to the lakes, tidal inlets and aquifers surrounding her Maine studio, their real subject is paint and the improvisational gusto of its handling. Neely reveals a visceral connection to her subject matter by way of a process that echoes nature's dynamism, a discourse not dissimilar to that of her contemporary, Joan Snyder."
— Elisa Decker, Art in America, September 2009

Just the Elements
Alpha Gallery, 38 Newbury Street, Boston, MA
October 2008

These paintings were part of a solo exhibition, "Just the Elements: New Paintings", October 4 – November 5, 2008 at
Alpha Gallery, 38 Newbury Street, Boston, MA.

Catalog with foreword by William Corbett.

Just the Elements
Strata Reversing Tides
Pink Mirage


"The 15 breathtaking works here, ranging in size from a sheet of legal paper to 5 by 7 feet, have roots in the visible components of the natural world. But unlike some of Neely's earlier prints and paintings, which featured recognizable plant forms and landscapes, these pieces fracture and distill land, sky, and water into total abstraction...Neely celebrates the unlimited possibilities within a finite numbe of elements — in paint or on the periodic table."
— "Anne Neely, Alpha, Boston", Joanne Silver, ARTnews, April 2009

"With her imagination, she probes ideas: water resources, aquifers, layers of earth, connections between the earth's layers and those of smaller organisms. With her brush, she pushes at the boundaries of landscape with a giddy array of marks and colors, all stretching in horizontal bands across linen backing...Neely's works are serious; they offer so much to the eye, and they touch upon water's potential scarcity. Still, the sheer joy in their making cannot be missed."
— "'Elements' pushes landscape to its boundaries," Cate McQuaid, The Boston Globe, Wednesday, October 8, 2008

"The little paintings are a clue to the big ones. They tell the viewer that what Neely absorbed underwent the powerful compressing force of her imagination. Her big paintings are packed but have a lyrical flow. She is painting all of what her imagination has given her in a mosaic of earthy and ethereal colors. This show may be "just" the elements but it achieves a powerful simultaneity of means and ends."
— from the essay "Anne Neely: Just the Elements" by William Corbett

What the Weather Brings
Lohin Geduld Gallery, New York, New York
March 3–31, 2007

A catalogue is available with essay by Susan Stoops, Curator of Contemporary Art, Worcester Art Museum, Worcester, Massachusetts.

LethespacerGreen RiverspacerRillspacerLast Look

"With this show the basic elements hold things together such as the abstracted landscape theme or how the paint and color are varied. This permits Neely to free-range around her boundaries and sometimes to jump a fence or two while taking us with her...Neely endows...all her work with enough abstract ambiguity to similarly free up interpretations. While it's clear that she is interested in a particular theme for the subject matter, as a viewer you can follow aong or carve your own path."
— Joseph Walentini, Abstract Art Online, March 15, 2007

Anne Neely: Going West
Catherine Hammond Gallery, Glengarriff, West Cork, Ireland

July 29 – August 17, 2005

Going West Against the Sky

"Neely has a nice, light touch, and her paintings could be seen as a series of meditations on or inspired by landscape... She had two ideas running through her mind: ‘the pervasive sense of the Irish past and the constant relationship of land to weather.’ While the starting point is (County) Mayo, Neely’s concerns are more general, touching on our relationship with nature, with the way the land weighs us down or sets us free, and how it offers us imaginative space."
— Aidan Dunne,
The Irish Times, August 12, 2005

Anne Neely: The Edge of the World
Lohin Geduld Gallery, New York, New York

February 19 – March 19, 2005

Arc Primal Soup

"Working in a hierarchical manner, the bottom half of Neely’s canvases in her current show are tenuous, illusionistic landscapes that create the effect of deep skies...Clustered at the top of her work is the place reserved for vibrant, painterly, quilty balloons, as if dreams of paintings yet to be realized. It’s a great mix where the fleshy paint handling of an artist like Joan Snyder meets the pulpy details of a Stettheimer or the feminist iconographer Miriam Shapiro."
— David Spiher, Gay City News, Volume 4, March 3–9, 2005

"Metaphorically these paintings offer a madcap urban sensibility: a purview of a city as a vibrant living organism."
— Joseph Walentini, Abstract Art OnLine, New York Views March 1

Anne Neely: Without Gravity
Alpha Gallery, Boston, Mass.
November 1 – December 3, 2003

Giacometti's Garden

"Neely has described her work as holding the tension between spirit and matter. These new paintings feel more like spirits exultant triumph over matter: they’re giddy and playful."
— Cate McQuaid, The Boston Globe, Taking Landscapes to a new horizon," Review

"Neely is clearly adept at using the vocabulary of abstraction to seek out meaning in earthly, as well as ethereal, phenomena."
— Cynthia Nadelman, Art News, National Reviews, March 2004

Anne Neely: Garden of Memory
Alpha Gallery, Boston, Mass.

December 8, 2001 – January 9, 2002

Night Garden

"While Neely’s single flower as subject matter is indebted to Piet Mondrian’s floral works, her spontaneous handling of paint calls to mind such Abstract Expressionists as Joan Mitchell, Neely’s pleasure in the material is most obvious in her frequent addition of jewel-tone slabs of paint that jut out from the canvas. It’s a brilliant touch. The small chunk forces the eye to snap back from the comfort of familiar imagery and into the composition’s nuances, in which the abundance of the garden is transformed into a bounty of abstract possibilities."
— Mary Sherman, Art News, National Reviews, March 2002


Seven Landscapes for the New Millennium



This portfolio consists of seven drypoints printed on bright white Hahnemuhle Cooper Plate by Jenny Mikesell at Mixit Studio, Somerville, MA. Paper size is 11 x 31". This is a limited edition but can be purchased individually. These prints were exhibited at the Lillian Immig Gallery, Emmanuel College, January 19, 2000 – February 17, 2000.

"Seven Landscapes for the New Millennium, a drypoint print portfolio throws itself into the maelstrom of passing time, albeit with hope. These are long, narrow pieces, described in feathery lines and blurry dits and dashes, like Morse code set to dance."
—Cate McQuaid, The Boston Globe, Galleries, February 3, 2000

Leaving: A Meditation on Death

Pentimenti Genealogy

The portfolio consists of seven etchings and was printed by Peter Petengill at Wingate Studio, Hinsdale N.H. The technical processes include intaglio, aquatint, spit bite, soft ground and chine colle. The paper is Fabriano Tiepelo 290gr and is 26 x 19" (image size 14 x 10"). This is a limited edition but can be purchased individually. These prints were in an exhibition called "Immortalized", November 15, 1998 – January 24, 1999, at the Art Complex Museum, Duxbury, MA.

"Leaving: A Meditation on Death, a suite of seven etchings by Anne Neely, intermingles fragments and organic elements in atmospheres that suggest a cosmos awash in emotion. Implicit in these hushed scenes honoring the artist's parents is a perpetual connection linking all things."
— Joanne Silver, Boston Herald, January 15, 1999

© 2007 Anne Neely