Amelia Anderson ‘14 found freedom through contemporary art and trying everything

For Amelia Anderson ‘14, the path from Lawrence University to her current role as Director of the Bennett Prize & Curator of Women’s Art at the Muskegon Museum of Art has been marked by several surprising detours.

Anderson said her career has been defined by unexpected pivots and gaining the confidence to apply for roles she felt unqualified for. This resilience was forged during her time at Lawrence University, where her mentors instilled in her the high standards and adaptability to break into the artistic world. 

“I was taking contemporary art history with Elizabeth (Carlson), and I remember going back to my room, laying on my bed, and thinking, ‘everything that’s been done has already been done before and almost nothing matters,’ and that is so freeing,” said Anderson. “You can do whatever you want. There are no limitations. There are really no rules. That’s a very Lawrence idea.”

The Lawrence Foundation

As an Appleton native, Anderson had no desire to remain in her hometown when she was searching for colleges. She attended the University of Wisconsin-Madison for one year, but she said her experience made her realize she was a “liberal arts person.”

“Being at a state school, it was too big. I was so lost,” Anderson said. “I applied to transfer to Lawrence because I kind of saw the silver lining. During Orientation Week, I just knew this is the right environment for me. I’m so glad that I transferred because who knows where I would be now.”

While at UW-Madison, Anderson received her first taste of archival work while working at the Wisconsin Center for Film and Theater Research. This initial passion made art history a natural choice when deciding what to study at Lawrence. 

 With the help of mentors like her advisor Elizabeth Carlson, associate professor of art history, and Beth Zinsli, adjunct associate professor of art, Anderson quickly found her footing. 

“I was shocked at how many opportunities I had once I said I wanted to be an art history major,” Anderson said.

Carlson and Zinsli were also indispensable when helping her prepare for her future. Carlson held her students to a very high standard—even editing all of Anderson’s graduate school application essays—but also gave her the freedom to “flop around.”

“You’re always open to criticism. You need to have humility, and you need to understand you’re going to flop sometimes, and that’s okay,” Anderson said. “Elizabeth gave me that freedom; that’s what college is for.” 

Meanwhile, Zinsli taught Anderson about interviewing as a skill. After “bombing” a handful of fellowship interviews following graduation, Anderson quickly learned how to showcase herself and her work. 

The Unexpected Pivot: From PhD Track to Driehaus

Anderson received her Master’s in History of Art and Architecture at the University of Oregon Graduate School. The high standards expected of her by Carlson had more than prepared her for the level of work at the graduate level. 

Her first plan, Anderson said, was to enter a PhD program and teach at a small liberal arts college, becoming “the Elizabeth Carlson of whatever small-town college" she could get into. She relocated to Chicago, living with friends, working for a temp service, and applying for PhD programs.

But it didn’t happen for her. 

At that time, Anderson was also volunteering at The Richard H. Driehaus Museum when a part-time curatorial position opened up. She applied and got the job. 

“I felt like this was the greatest job in the entire world,” Anderson said. “I got to work on really cool exhibitions. My academic interest was in late 19th-century, early 20th-century decorative arts. I wrote my master’s thesis on pianos specific to artists in the late 19th century, so transitioning to a Gilded Age mansion was very natural.”

However, in 2020, Anderson’s journey took another turn when she was laid off due to the COVID-19 pandemic. 

“I thought I was done in the museum industry,” Anderson said. 

Taking Flight: A Career Reset at EAA

Despite another detour, Anderson persisted in searching for a place to land. In 2022, she applied for a role at EAA (Experimental Aircraft Association) in Oshkosh, WI. Anderson said it was like a career reset. 

“I was like, okay, you’re going to be working in the aviation publication industry,” Anderson said. “I don’t know anything about airplanes. But what do I have to lose?”

Anderson’s first role at EAA as the Publications Production Coordinator was much more focused on writing, proofreading, and organizing authors and contributors. It wasn’t quite the focus she wanted to continue long term. However, a curator position opened up in 2023. 

At first, her limited but growing knowledge of airplanes kept Anderson from applying, but after helping out with the collection, she decided to make the leap. She applied for the role and was offered the position, becoming the first woman curator of the EAA Aviation Museum. 

“I’m really proud of the work I did there,” Anderson said. 

Investing in Community and Women's Art

Aviation was not her longtime calling, however. Anderson accepted a role as Curator of Women’s Art at the Muskegon Museum of Art and started in the summer of 2025. Her previous work in public history at the EAA Museum gave her a fresh perspective on her new role within an art museum. 

Anderson was also hired as the director of the Bennett Prize, a program funded by Steve Bennett and Elaine Melotti Schmidt, two art collectors who had a dream to support women figurative realist painters. The program is run through the Muskegon Museum of Art and provides a $50,000 prize to the winner, while all finalists gain exposure as part of a traveling exhibition. 

Anderson now has a direct hand in supporting women painters’ careers. 

“Women are historically underrepresented, and while it’s getting better, it’s also not there yet,” Anderson said. “We all need to lift each other up and really support each other.” 

Anderson’s role curator, she said, isn’t just playing with art or hanging up paintings. It’s also about curating relationships and trust with her community, especially within a small city like Muskegon. She is entrusted with the city’s history and culture. 

She also learned to never judge a book by its cover when it comes to art and art collectors. She recalled a time when she visited a potential donor in a very unassuming suburb of Detroit. However, his collection amazed her. 

“Cultivating those donor relationships and making them feel like their collection is going to be taken care of is also in our skill sets,” Anderson said. “There’s a lot of development skills that go into being a curator.” 

And those skills can also be used close to home. Although the Midwest may not seem like the perfect place to pursue a career in art history or museum studies, Anderson said she intentionally searched for opportunities to support her local communities. 

Making museums and their collections, especially in a local context, drives Anderson in her work. The Muskegon Museum of Art may be unassuming, but they have made their mark by supporting local artists, supporting women artists, and curating a collection beyond anyone’s expectations. 

“I never thought I’d work at a museum that had a (Artemisia) Gentileschi, and I didn’t have to leave the Midwest to do that,” Anderson said. “This is the local community’s collection; it was meant to feed the community.”

Now Anderson is a part of that important work in her community. Sometimes it meant cold emailing potential employers, taking internships, or accepting jobs outside the scope of her work, but every step led her to where she is today. 

“You're going to detour every now and again, and that’s natural,” Anderson said. “Don’t discount yourself but keep an open mind. Even if you’re in a job you don’t 100% love, have the attitude of ‘this is going to get me where I need to go.’ Every experience is useful, so try to utilize it to the best of your ability.”

Anderson encourages all Lawrence alumni who are women figurative realist painters to apply for The Bennett Prize Cycle 5 by visiting thebennettprize.org. The call for entries will be officially announced in Spring 2026.

The Rising Voices traveling exhibition, which consists of the Bennett Prize Cycle 4 finalists and the solo show of the Bennett Prize Cycle 3 winner, Shiqing Deng, The Cost of Life, are currently on the road. Visit thebennettprize.org for a full schedule.