Maurice Berger

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Maurice Berger
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Rosalind Krauss

Maurice Berger (May 22, 1956 – March 22, 2020) was an American

cultural historian, curator, and art critic, who served as a Research Professor and Chief Curator at the Center for Art, Design and Visual Culture, University of Maryland, Baltimore County.[1] Berger was recognized for his interdisciplinary scholarship on race and visual culture in the United States.[2]

He curated a number of important exhibitions examining the relationship between

American art, including the critically acclaimed For All The World To See: Visual Culture and the Struggle for Civil Rights co-organized in 2011 by the National Museum of African American History and Culture of the Smithsonian Institution and the Center for Art, Design & Visual Culture at the University of Maryland, Baltimore County, which focused on the role visual imagery played in shaping, influencing, and transforming the modern struggle for racial equality and justice in the United States.[3][4][5][6]

On March 22, 2020, he fell ill and died in Copake, New York, from heart failure, exacerbated by untested complications of COVID-19. He was 63 years old.

Biography

Berger grew up poor in a predominantly black and

The Graduate Center, CUNY in 1988.[2]

In the mid-1980s he was an assistant professor of art and gallery director at Hunter College.

Johnnetta B. Cole at Hunter College in 1987, included a book, art exhibition, and film program. His study on institutional racism, "Are Art Museums Racist?", appeared in Art in America.[10] In the early 1990s, Berger extended his work on visual culture and race to include the sustained study of the work of African-American artists, performers, filmmakers, producers, and cultural figures, culminating both in solo exhibitions ("Adrian Piper: A Retrospective" and "Fred Wilson Objects and Installations"), multimedia projects (including compilation videos and elaborate context stations for art exhibitions), and essays (on subjects as diverse as black artists and the limitations of mainstream art criticism, the racial implications of art historical and curatorial efforts to evaluate "outsider" art, the Harlem Document project of New York's Photo League, and the photography, writing, and films of Gordon Parks)."[8]

In 2011, he served as curator of "For All The World To See: Visual Culture and the Struggle for Civil Rights at the National Museum of African American History and Culture of the Smithsonian Institution. According to

March on Washington, Malcolm X, and the Supremes, as well as a wide array of printed matter, from copies of Ebony, Jet, and Sepia to a poster for Shaft."[11]

Publications

Berger wrote the monthly Race Stories column, "a continuing exploration of the relationship of race to photographic portrayals of race", for the Lens Section of the

Farrar, Straus & Giroux, 1999) and For All the World to See: Visual Culture and the Struggle for Civil Rights (Yale University Press, 2010), Berger is the author of numerous essays for anthologies and exhibition catalogs. White Lies, an experimental and largely autobiographical book, counterpoises short stories, vignettes, and analytical texts to examine the nature of whiteness as a racial category and to make it visible and comprehensible to the reader.[7] The historian David Roediger has noted of the book, that its passages "gather classic accounts of what whiteness means . . . Berger's collage of provocations from experts on white identity coupled with bursts of poignant autobiography, destabilizes racial certainties.”[16]

Exhibitions

Berger's exhibitions on race and culture included retrospectives of the artists Adrian Piper (1999)

Whitney Museum of American Art, in New York City.[21][22]

In 2015, Berger designed and curated an exhibition titled Revolution of the Eye: Modern Art and the Birth of American Television in dedication to how the emergence of stylistic avant-garde art from the late 1940s to the mid-1970s influenced the role of television as an entertainment medium and vice versa.

University of Illinois, the Revolution of the Eye: Modern Art and the Birth of American Television consists of two major parts: a seven-section analytical essay that illuminates the relationship between pop cultural artistic movements and the technological advancements in telemedia in addition to a cultural timeline that provides an accessible representation of the evolution of modern American art.[27] Revolution of the Eye: Modern Art and the Birth of American Television has also been made available as a virtual exhibition, organized by the Center for Art, Design, and Visual Culture of University of Maryland, Baltimore County.[28]

Media projects

From the mid-1990s on Berger produced cinematic “culture stories,” syncopated compilations of historic clips from American film and television that explore issues of identity and self-representation. His film Threshold was featured in the 2012 Whitney Biennial.[29] The film was inspired by his conversations with Alicia Hall Moran and Jason Moran about their ideas for Bleed, their residency for the biennial. Threshold is a continuum of images from popular culture produced during the period of or about the historic civil rights movement. Critic Ben Ratliff, writing in the New York Times, observed that " Threshold strung together clips from movies and television shows of African-Americans beginning various journeys, passages or challenges: Diana Ross and Michael Jackson on the yellow brick road in “The Wiz”; dancers on “Soul Train”; Denzel Washington as Malcolm X stepping up to a podium. The mood of that film carried through the whole week: moving forward, crossing lines, evolving."[30]

Awards and honors

For his Race Stories column for the Lens Section of the New York Times, Berger was the recipient of the 2018

Emmy Award nomination from the National Academy of Television Arts and Sciences, New York chapter.[33] His book White Lies: Race and the Myths of Whiteness (Farrar, Straus & Giroux, 1999) was named as a finalist for the 2000 Horace Mann Bond Book Award[34] of Harvard University and received an honorable mention from the Gustavus Myers Outstanding Book Award from Boston University School of Social Work. His companion book for For All the World to See (Yale, 2010) was named Choice Outstanding Academic Title 2010, Art and Architecture from the American Library Association.[35]

In 1993, Berger was appointed as the inaugural Fellow at the

Vera List Center for Art and Politics, where he helmed numerous programs and publications including the first compilation celebrating The New School Art Collection, Patrons of Progress. The Vera List Center Forum 2020
opened with a tribute to Berger, gathering friends, colleagues, and allies for a celebration of his legacy.

Death

Berger died due to presumed complications from COVID-19 on March 22, 2020. He was 63.[36][37]

References

  1. ^ "Berger, Maurice 1956- | Encyclopedia.com". www.encyclopedia.com. Retrieved 2020-03-25.
  2. ^ a b Genzlinger, Neil (26 March 2020). "Maurice Berger, Curator Outspoken About Race, is Dead at 63". The New York Times.
  3. ^ For All the World To See: Website
  4. ^ Images That Steered a Drive for Freedom Holland Cotter, New York Times, 21 May 2010, p. E1
  5. ^ For All the World To See Explores the Impact of Visual Culture of the 1960s, Jacqueline Trescott,  Washington Post, 9 June 2011
  6. ^ The Power of Imagery in Advancing Civil Rights Archived 2016-08-22 at the Wayback Machine, Arcynta Ali Childs, Smithsonian Magazine, October 2011
  7. ^ a b "Facing Down His Color as a Path to Privilege"
  8. ^ a b "Using Photography to Tell Stories About Race"
  9. ^ Ibid
  10. ^ "Art Art Museums Racist?, Maurice Berger, excerpt from Art in America, September 1990 Archived 2015-11-07 at the Wayback Machine
  11. ^ Goings on About Town
  12. ^ Lens Blog: Race Stories by Maurice Berger, New York Times, July 2012-present
  13. ^ Lens Blog: Race Stories by Maurice Berger, New York Times, July 2012-present
  14. ^ Race in Cyberspace?, Maurice Berger, Wired, 1 December 1995,
  15. ^ Look in the Mirror for Racial Attitudes, Maurice Berger, Los Angeles Times, 26 February 1999, p. 7
  16. ^ "White Lies: Race and the Myths of Whiteness"
  17. ^ A Canvas of Concerns: Race, Racism and Class, Holland Cotter, New York Times, 24 December 1999
  18. ^ Pumping Air Into the Museum, So It's as Big as the World OutsideHolland Cotter, New York Times, 30 April 2004
  19. ^ Playing on Black and White: Racial Messages Through a Camera Lens, Margo Jefferson, New York Times, 10 January 2005
  20. ^ Rivalry Played Out on Canvas and Page, Roberta Smith, New York Times, 2 May 2008
  21. ^ Looking Back at Black Male, Whitney Museum of American Art, 20 January 2015
  22. ^ Some Curators Find Treasures In Palaces: Others Head for eBay, Wall Street Journal, 29 September 1999
  23. ^ a b "The Jewish Museum - Revolution of the Eye: Modern Art and the Birth of American Television Presented at the Jewish Museum in New York May 1, 2015 – September 27, 2015". thejewishmuseum.org. Retrieved 2020-06-12.
  24. ^ "Revolution of the Eye: Modern Art and the Birth of American Television". NSU Art Museum Fort Lauderdale. Retrieved 2020-06-12.
  25. ^ "Revolution of the Eye: Modern Art and the Birth of American Television". Revolution of the Eye: Modern Art and the Birth of American Television. Retrieved 2020-06-12.
  26. ^ "Revolution of the Eye | Yale University Press". yalebooks.yale.edu. Retrieved 2020-06-12.
  27. ^ "Revolution of the Eye: Modern Art and the Birth of American Television – Panorama: Journal of the Association of Historians of American Art". Retrieved 2020-06-12.
  28. ^ "Revolution of the Eye: Modern Art and the Birth of American Television - UMBC". revolutionoftheeye.umbc.edu. Retrieved 2020-06-12.
  29. ^ Bleed: Alicia Hall Moran and Jason Moran on Whitney Museum Website Archived 2013-02-03 at the Wayback Machine,
  30. ^ Art, Ancestry, Africa: Letting It All Bleed, Ben Ratliff, New York Times, 14 May 2012
  31. ^ Arts Writers Grantee: Maurice Berger, December 2014
  32. ^ 2018 ICP Infinity Award | Maurice Berger, February 2018
  33. ^ NY Emmy Award Page/Click on Nominees for PDF, Emmy Awards, National Academy of Television Arts and Sciences, New York Chapter, 2011
  34. ^ "For All the World to See". Yale.edu. Yale University Press. Retrieved March 27, 2020.
  35. ^ "For All the World to See". UMBC.edu. Retrieved March 27, 2020.
  36. ^ "Maurice Berger, 63, curator who explored race, dies of presumed COVID-19 complications". Los Angeles Times. 25 March 2020. Retrieved 31 March 2020.
  37. ^ The Jewish Museum Remembers Maurice Berger (1956–2020)

External links

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