The National Gallery of Art’s 10th National Gallery Nights series will begin on September 10, 2026
By Steven Brodsky
… and will continue on the second Thursday of October and on the second Thursday of November 2026 in the National Gallery’s East Building.
Visit National Gallery Nights | National Gallery of Art for additional information, including information about how passes will be issued.
Posted 8-17-26
Purchasing school supplies
By Steven Brodsky
… evokes memories of school experiences.
My memories of art classes are positive. My art teachers were outstanding; they were quite unlike the fictive first teacher that appears in this linked Harry Chapin song: https://youtu.be/4cVpkzZpDBA?si=Fm5xt2z3NyWncCL3.
Fortunately, that fictive teacher would likely now be no longer teaching and subjecting students to lessons that most would view as best to be unlearned.
Posted 8-17-26
‘The People’s Gallery,’ an upcoming exhibition at the Delaware Art Museum, to provide ‘an inclusive opportunity for artists of all backgrounds and experience levels to share their work.’
By Steven Brodsky
… The People’s Gallery exhibition will open on August 7, 2026 and will be on view through September 6, 2026.
The Delaware Art Museum will retain a 30% commission on sales.
Visit Call for Artists: The People’s Gallery – Delaware Art Museum for submissions-related information.
From a Delaware Art Museum news release that was issued this morning:
WILMINGTON, DE (Thursday, June 25, 2026) — The Delaware Art Museum is proud to announce The People’s Gallery, a community-driven exhibition that will showcase up to 600 Delaware artists in a landmark celebration of creativity, artistic labor, and civic engagement during the nation’s 250th anniversary. While the exhibition scale and timeline present unique logistical challenges, Museum staff are eager to transform hundreds of individual works into a cohesive experience.
Opening August 7 and on view through September 6, 2026, The People’s Gallery invites Delaware residents and DelArt Members to contribute one artwork each to a non-juried exhibition that places artistic agency and public participation at its center. All accepted works will be exhibited in the Museum’s Fusco Gallery and offered for sale through the museum store–Market at DelArt.
The People’s Gallery grew out of DelArt’s broader recognition of artists and creative workers as part of its Delaware250 programming. Throughout a six-month series of exhibitions and public programs, the Museum has explored the essential role artists play in helping communities interpret the past, understand the present, and imagine the future.
“The People’s Gallery serves as the culminating chapter of that initiative,” said Margaret Winslow, DelArt Head Curator and Curator of Contemporary Art. “By placing decision-making directly in the hands of artists and inviting the public to build personal connections with the works that resonate with them, the exhibition celebrates both artistic agency and public engagement.”
Unlike traditional juried exhibitions, The People’s Gallery offers an inclusive opportunity for artists of all backgrounds and experience levels to share their work. Up to 600 artworks will be accepted on a first-come, first-served basis. Submissions open for DelArt Members on July 6, and for all Delaware Residents on July 8.
In commemorating America’s 250th anniversary, the exhibition will contribute to a living artistic record of Delaware today. Information about participating artists and artworks, along with installation photography, will be preserved in the Museum’s archives, creating a lasting snapshot of the state’s creative community during this historic milestone.
“The most exciting aspect is the opportunity for Delaware residents and DelArt members to see their work displayed on the Museum’s walls,” said Heather Morrissey, DelArt Director of Operations. “The People’s Gallery expands the traditional relationship between museums and audiences, inviting the community to become active participants in the exhibition itself.”
The People’s Gallery reflects DelArt’s commitment to fostering meaningful connections between art, artists, and communities. By creating opportunities for artists to share their work and for audiences to engage with and support creative practice, the exhibition advances the Museum’s mission to inspire, educate, and build community through the arts. As Delaware commemorates the nation’s 250th anniversary, The People’s Gallery serves as both a celebration of the state’s vibrant artistic community and an investment in its creative future—amplifying diverse voices, strengthening civic engagement, and affirming the essential role artists play in shaping our shared cultural landscape.
Posted 6-25-26
The National Gallery of Art has announced its selection of 50 finalists in its social media open call for reinterpretations of works of art in the National Gallery’s collection through original short-form videos
By Steven Brodsky
… Congratulations to the finalists!
Open Call | National Gallery of Art
From a National Gallery of Art news brief issued today, June 15, 2026:
As part of its commemoration of America’s 250th anniversary, the National Gallery earlier this year called on digital creators throughout the country to reinterpret works of art in the museum’s collection. After receiving over 1,600 proposals, the museum has selected 50 top creators. The National Gallery will post their creative reimaginations on its social media throughout 2026.
Posted 6-15-26
A Conversation With Victoria Browning Wyeth
By Steven Brodsky
Victoria Browning Wyeth is the granddaughter of Andrew Wyeth and the niece of Jamie Wyeth. She is the great-granddaughter of N.C. Wyeth. Victoria is widely known for her dynamic gallery talks and lectures on the life and art of Andrew Wyeth. Victoria is a gifted photographer; her photos have been exhibited at a number of museums.
What are some of your fondest memories of your grandmother?
One of my fondest memories of my grandmother were our nicknames for each other. I always called my grandmother by two names: “Betsy” or “Mamma Sheep Turd.” I realize the second name might raise a few eyebrows so let me explain. I grew up in New York City, but would spend every summer in Cushing Maine with my grandparents. As a young girl, and as a grown woman, I have always detested sand, dirt and bugs. When I was about nine or so, my grandparents purchased Allen Island (near Port Clyde, Maine), and, in addition, a very large flock of sheep to help with the lawn “maintenance. Along with the sheep came sheep turds…. EVERYWHERE. So, she called me “City Slicker” and I called her “Mamma Sheep Turd.” When I was in college and we wrote each other letters, the post office at my college would giggle when they handed me a letter because of the return address. I always smile when I think of the looks people gave us when we used these names for each other.
My second fondest memory was when she taught me to put on makeup and put my hair in a French twist. I can still feel her hands in my hair helping me pin it up. When it came to applying makeup she would always say, “Vic… less is more.” To this day I am not much of a makeup person.
Finally, my most recent favorite memory involved cooking for my grandmother (and my uncle Jamie) on Sunday nights. Betsy was the chef in the family – her meals were simply out of this world yummy. Mashed potatoes, cookies, creamed eggs, popovers, etc. You name it and she could make it. After my grandfather died she scaled back her cooking quite a bit. Around six or seven years ago I started cooking Sunday dinners for my family. I wasn’t the best chef at first; I burned fish more than I would like to admit. One of the things that still brings a smile to my face was watching her gobble up every last morsel. She would look at Jamie and me and say, “mmmmm this is good.”
Betsy handled much of the business affairs of her husband Andrew. What prepared her for this?
She always had such a powerful business sense. I’m not quite sure where this came from, but she handled Andy’s business affairs with such grace and intelligence. She was quite the inspiration.
Please describe how Betsy furthered the career of Andrew?
My grandmother helped further his career by supporting him in numerous ways. The most important was through her love: she loved him with all of her heart. She would always tell him what she thought of his newest painting – if he needed to simplify something, if the color was too intense, etc. She was also very instrumental in titling many of his paintings.
What was the extent of Betsy’s involvement in titling the paintings of her husband?
She had a huge role in the titles. Take the painting Wind from the Sea. When my grandparents were discussing the piece Betsy said, “It looks like a wind is coming in from the sea.” Andy replied, “That’s it!! Wind from the Sea.” Her vocabulary was most impressive. For example, she would do the New York Times crossword puzzles in ink. This gave her an incredible bank of words to choose from when she helped to title the work.
Her ability to title wasn’t limited to paintings: when I was in graduate school and writing long research papers, I would call her and tell her my paper topic. She would then call me back with a title. For example, I wrote a paper on shell shock in British troops during World War I. She came up with the title “Over the Top.”
Were you able to observe Andrew while he was painting? If you were, did he discuss what he was working on?
Andy HATED having people watch him paint. He felt that having you watch him paint was an invasion. The only times I watched him paint were: (1) outside my window in the summer. He would work on watercolors or drawings outside my parent’s house in Cushing, Maine. He didn’t know I was looking, but I was. I couldn’t help myself. This is when I was a young girl (under 13). (2) When I would accidentally walk into the house when he was working on something. I would apologize and he would smile and say, “Hi darlin’. I’m just finishing up.” (3) When I posed. This was my favorite because we got to discuss everything. I would barrage him with all sorts of questions about his work, his life, his friends, etc. The last time I posed (back in 2005) I was giving lectures at the Brandywine River Museum. It was so cool because I would incorporate what we talked about into my gallery talk that day.
How sensitive was Andrew to what critics wrote about him?
He couldn’t have cared less what the critics thought.
Which paintings of his do you believe he remained most attached to?
He was almost always most attached to the painting that he was working on.
To your knowledge, were there times in Andrew’s life when he was without artistic inspiration? If there were, how did he reacquire inspiration?
To the best of my knowledge this never happened. Even when he was in the hospital (for a hip replacement) he drew his hospital room and the view out the window. He was inspired by everything and everyone.
Of the photos that you took of Andrew Wyeth, is there one that especially evokes cherished memories? Can you share those memories with us?
The one I took of him painting outside my window in Cushing, Maine. He was painting me and we would start working very early in the morning – 6:45 a.m. I overslept one morning and rushed downstairs. As I looked out of the living room window, I found him sitting out there with his watercolor pad on his lap, tissues everywhere (to blot the paper) and his watercolor box by his side. Whenever I get sad and miss him, this is what I think of and it always makes me smile.
You’ve given many pro bono talks. Which of those talks have been most gratifying to you? Please tell us why.
My favorite talks, pro bono and paid, have been the ones I have done at the state and local prisons. I feel that those who are incarcerated should be exposed to art as much as possible. Since they can’t go to a museum, I bring a museum to them. For example, this past January I lectured on the work of my grandfather to the gentlemen at the Maine State Prison in Maine. I went on January 16th – which is a very special day for me – the anniversary of my grandfather’s death. It was a beautiful snowy day and I packed my car up with a bunch of my uncle’s and grandfather’s watercolors and drawings and headed to the prison. I thought it would be fun to create a pop-up gallery in the prison and even more interesting to bring one of my grandfather’s models with me. It was a very special day for all of us. I will never forget looking at the reactions on the guys faces as they looked at the art.
The Brandywine River Museum of Art is currently closed to the public (as are other museums) because of the COVID-19 crisis. Is there a painting in the Museum’s collection by Andrew Wyeth that, at this moment, you are especially looking forward to seeing when the doors reopen?
I love seeing my grandmother’s portrait – Maga’s Daughter. I’m very excited to go visit her and say hi.
Posted 6-8-20