Amanda C. Burdan, Curator
Brandywine River Museum of Art
Chadds Ford, PA, (610) 388-2700, www.brandywine.org
What event (gallery show, museum exhibit, etc.) in the next few months are you looking forward to, and why?
I’m definitely looking forward to seeing my own exhibition America’s Impressionism: Echoes of a Revolution open at the Dixon Gallery and Gardens in Memphis in January—which will later open at the Brandywine River Museum of Art in the fall of 2021. I’m also eager to see the Winslow Homer and Frederick Remington show that I missed at the Denver Art Museum, but might still get to see at the Portland Museum of Art or at the Amon Carter.
What are you reading?
Right now, I’m reading Kristin Ringelberg’s Redefining Gender in American Impressionist Studio Paintings: Work Place/Domestic Space as I reread May Alcott: A Memoir of 1928 by Caroline Ticknor. I’m finishing up my summer reading list with Learning to See, Elise Hooper’s novel about Dorothea Lange.
Interesting exhibit, gallery opening or work of art you’ve seen recently.
I attended my first virtual opening this summer “at” the Crocker Museum—someplace I’ve never been in real life. While I tuned in to see Scheherazade and Her Sisters, works from the Dijkstra Collection, I was totally captivated by the pop surrealism of Todd Schorr: Atomic Cocktail organized by the Virginia Museum of Contemporary Art.
What are you researching at the moment?
Would you believe weather maps created by the military during World War II and the nuclear bomb tests at Bikini Atoll? I’m working on an essay for the Vilcek Foundation’s upcoming exhibition Ralston Crawford: Air + Space + War. I’m also digging into how artists make us feel uneasy for 2022’s Jamie Wyeth: Unsettled at the Brandywine River Museum of Art.
What is your dream exhibit to curate? Or see someone else curate?
I really like exhibitions that transport me to another time with a total experience. I would love to recreate the American art galleries of the 1867 Exposition Universelle in Paris, right down to what one critic called the “dead pink walls” decorated by “an intensely economical Committee of Quakers.” —
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