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Images from Anne Neely: Going West, July 29 – August 17, 2005,
Catherine Hammond Gallery, Glengarriff, West Cork, Ireland
"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
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Images from Anne Neely: The Edge of the World, February 19 – March 19, 2005
Lohin Geduld Gallery, New York, New York
"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
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Images from Anne Neely: Without Gravity, November 1 – December 3, 2003, Alpha Gallery, Boston, Mass.
"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
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Images from Anne Neely: Garden of Memory, December 8, 2001 – January 9, 2002, Alpha Gallery, Boston, Mass.
"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
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Leaving: A Meditation on Death
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