Maurice Berger

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Maurice Berger
Maurice Berger PR.jpg
Maurice Berger (2011)
Born New York City
Residence New York City
Nationality United States
Citizenship United States
Alma mater Hunter College
Graduate Center of the City University of New York
Scientific career
Fields Cultural History
Critical Race Theory
Art History
Cultural Criticism
Institutions University of Maryland, Baltimore County
New York Times
Doctoral advisor Yve-Alain Bois
Linda Nochlin
Other academic advisors Rosalind Krauss
Influences W.E.B. Du Bois
James Baldwin
Toni Morrison
Roland Barthes
Rosalind Krauss

Maurice Berger is an American cultural historian, curator, and art critic.


Berger is research professor and chief curator at the Center for Art, Design and Visual Culture, University of Maryland, Baltimore County. Berger writes the monthly Race Stories column, "a continuing exploration of the relationship of race to photographic portrayals of race", for the Lens Section of the New York Times.[1]

Berger engages the issues of racism, whiteness, and contemporary race relations and their connection to visual culture in the United States. In the mid-1980s he was an assistant professor of art and gallery director at Hunter College.[2] His interdisciplinary project "Race and Representation", co-organized with the anthropologist 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.[3] In the early 1990s, Berger extended his work on visual culture and race to include 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).

Berger has curated a number of race-related concept-based exhibitions, including For All The World To See: Visual Culture and the Struggle for Civil Rights—a joint venture of 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. This exhibition examined the role played by visual images in shaping, influencing, and transforming the modern struggle for racial equality and justice in the United States.[4][5][6][7] It opened at International Center of Photography in New York in May 2010 and traveled to the DuSable Museum of African American History (Chicago), Smithsonian National Museum of American History (DC), National Civil Rights Museum (Memphis), Center for Art, Design and Visual Culture (Baltimore), Addison Gallery of American Art (Andover, MA) and other venues. For All the World to See was selected by the National Endowment for the Humanities as the twelfth NEH on the Road exhibition, an initiative that adapted the exhibition in a smaller, lower security version that will travel to up to 50 more venues, mostly smaller and mid-size institutions across the country over a ten-year period from 2012 to 2023.[8]


Berger’s writings have appeared in Artforum, Art in America, New York Times[9] Pen America, Village Voice, October, National Geographic, Brooklyn Rail, Wired,[10] and Los Angeles Times.[11] In addition to his eleven books, Berger is the author of numerous essays, including “Man in the Mirror: The Harlem Document, Race and the Photo League,” in Mason Klein, The Radical Camera: New York’s Photo League, published by the Jewish Museum and Yale University Press and “The Crucible of Race: Gordon Parks and an Emerging Civil Rights Movement,” in Philip Brookman, Gordon Parks: The New Tide, 1940–1950, published by the National Gallery of Art in Washington DC.


Berger's exhibitions on race and culture include retrospectives of the artists Adrian Piper (1999)[12] and Fred Wilson (2001)[13] both traveling extensively in the United States and Canada. In 2003, he organized White: Whiteness and Race in Contemporary Art, which featured the work of Cindy Sherman, Nayland Blake, William Kentridge, Gary Simmons, Paul McCarthy, Nikki S. Lee, Andrea Robbins and Max Becher, and Mike Kelley, among others.[14] Berger has advocated for more aggressive educational outreach and broader cultural and social context for high art in museums, creating complex, multi-media "context stations" for numerous exhibitions, including Action/Abstraction: Pollock, de Kooning, and American Art, 1940–1976, Jewish Museum (2008)[15] and Black Male: Representations of Masculinity, 1968–1994 (1994) and The American Century: Art & Culture, 1950–2000, (1999), both at the Whitney Museum of American Art, New York. Additionally, he was the curator of Hands and Minds: The Art and Writing of Young People in 20th-Century America, Corcoran Gallery of Art, Washington, D.C. (1998), an exhibition, and a catalog with a preface by First Lady Hillary Clinton, on the importance of arts education that traveled across the United States.

Media projects[edit]

Since the mid-1990s, Berger has 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.[16] 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."[17]

Awards and honors[edit]

For his Race Stories column for the Lens Section of the New York Times, Berger is the recipient of the 2018 Infinity Award from the International Center of Photography and the 2014 Arts Writers Grant from Creative Capital | Andy Warhol Foundation.[18] [19] He has received multiple grants from the National Endowment for the Humanities, National Endowment for the Arts, Andy Warhol Foundation for the Visual Arts, Peter Norton Family Foundation, Trellis Fund, and J. Patrick Lannon Foundation. For his work on the “For All the World to See” segment of WNET Sunday Arts, Berger received an Emmy Award nomination from the National Academy of Television Arts and Sciences, New York chapter.[20] 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 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 and was a finalist for the Benjamin L. Hooks National book Award from the University of Memphis (2011).

Berger's curatorial honors include “Exhibition of the Year 2008” (Action/Abstraction) and “Best Exhibition in a University Museum 2010” (For All the World to See) from the Association of Art Museum Curators, and “Best Thematic Exhibition in New York, 2008” (Action/Abstraction) from the International Association of Art Critics, American Section. He has also received the Alumni Achievement Award from the Graduate Center of the City University of New York (1998) and the Award for Excellence and Achievement in German Studies from the German Counsel General, New York (1977).


  1. ^ Lens Blog: Race Stories by Maurice Berger, New York Times, July 2012-present
  2. ^ Ibid
  3. ^ "Art Art Museums Racist?, Maurice Berger, excerpt from Art in America, September 1990[dead link]
  4. ^ For All the World To See: Website
  5. ^ Images That Steered a Drive for Freedom Holland Cotter, New York Times, 21 May 2010, p. E1
  6. ^ For All the World To See Explores the Impact of Visual Culture of the 1960s, Jacqueline Trescott, Washington Post, 9 June 2011
  7. ^ The Power of Imagery in Advancing Civil Rights Archived 2016-08-22 at the Wayback Machine., Arcynta Ali Childs, Smithsonian Magazine, October 2011
  8. ^ NEH on the Road: For All the World To See
  9. ^ Lens Blog: Race Stories by Maurice Berger, New York Times, July 2012-present
  10. ^ Race in Cyberspace?, Maurice Berger, Wired, 1 December 1995,
  11. ^ Look in the Mirror for Racial Attitudes, Maurice Berger, Los Angeles Times, 26 February 1999, p. 7
  12. ^ A Canvas of Concerns: Race, Racism and Class, Holland Cotter, New York Times, 24 December 1999
  13. ^ Pumping Air Into the Museum, So It's as Big as the World OutsideHolland Cotter, New York Times, 30 April 2004
  14. ^ Playing on Black and White: Racial Messages Through a Camera Lens,Margo Jefferson, New York Times, 10 January 2005
  15. ^ Rivalry Played Out on Canvas and Page, Roberta Smith, New York Times, 2 May 2008
  16. ^ Bleed: Alicia Hall Moran and Jason Moran on Whitney Museum Website Archived 2013-02-03 at the Wayback Machine.,
  17. ^ Art, Ancestry, Africa: Letting It All Bleed, Ben Ratliff, New York Times, 14 May 2012
  18. ^ Arts Writers Grantee: Maurice Berger, December 2014
  19. ^ 2018 ICP Infinity Award | Maurice Berger, February 2018
  20. ^ NY Emmy Award Page/Click on Nominees for PDF, Emmy Awards, National Academy of Television Arts and Sciences, New York Chapter, 2011

External links[edit]