Maurice Berger (eng. Maurice Berger) - American cultural historian and art historian. Born in 1956 in New York .
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Occupation | cultural historian, art historian |
Biography
Maurice Berger - cultural historian and art historian. He is a Senior Fellow at the Center for Art, Design and Visual Culture at the University of Maryland, Baltimore County. He is also a senior member of the scientific community at The Vera List Center for Art and Politics at the New School in New York. As a student of one of the first foremost contemporary art analysts Rosalind Krauss, he received a bachelor's and PhD degree in art history and critical theory from the University of New York. After that, racial relations became the sphere of his interests. Berger was one of the few whites who grew up in municipal homes for low-income families in New York, which made him very susceptible to race issues. Because of this, in his scientific work he went beyond the framework of critical theory to show the importance of the images of race in everyday life.
Berger proposes to consider the problems of racism, the white race and modern race relations as an element of the visual culture of the United States. His study on racism Are Art Museums Racist? was published in the monthly magazine Art in America. Berger also oversaw many exhibitions on racial issues, for example, for example. This exhibition was a rather risky collaboration between the State Museum of African American History and Culture and the Center for Art, Design and Visual Culture at the University of Maryland. This exhibition explores the role that visual images play in shaping, transforming, and influencing the struggle for racial equality and justice in America.
Berger is the political leader of the PollTrack website, which oversees the socio-cultural aspects of America’s life and US elections from the voters themselves.
Publications
Berger is the author of eleven books on American culture, art, and racial politics. His autobiography White Lies: Race and the Myths of Whiteness was one of the first books in which the very idea of white people appears to the general public as a racial concept. This book received awards from the Horace Mann Bond Book Award and the Gustavus Meyers Book Award. His other works: Masterworks of the Jewish Museum (Yale, 2004); The Crisis of Criticism (The New Press, 1998); Constructing Masculinity (Routledge, 1995); Modern Art and Society (HarperCollins, 1994); How Art Becomes History (HarperCollins, 1992); Labyrinths: Robert Morris, Minimalism, and the 1960s (Harper & Row, 1989). His studies on art, film, television, theater, law and politics have been published in many magazines and newspapers: Artforum, Art in America, New York Times, Village Voice, October, Wired, and Los Angeles Times. He is also the author of many programs for exhibitions.
Exhibitions
In the exhibitions of Maurice Berger, devoted to issues of race and culture, there are works of artists such as Adrian Piper And Fred Wilson . The 2003 White: Whiteness and Race in Contemporary Art exhibition included works by Cindy Sherman , Nayland Blake , William Kentridge , Gary Simmons , Paul McCarthy , Mike Kelly , Andrea Robbins and Max Beher , Nikki S. Lee And many others.
Also, Maurice Berger was the curator of the exhibition “ The First Lady Hillary Clinton” wrote the preface to the catalog of this exhibition, the first lady of Hillary Clinton , after Washington the exhibition went on tour in the United States.
Essay
- "Falling Into Place," in Andrea Robbins and Max Becher: The Transportation of Place (Aperture, 2006);
- "Secrets and Lies," in Jenny Holzer: Truth Before Power (Kunsthaus Bregenz, 2004);
- "Last Exit to Brooklyn," in Alexis Rockman: "Manifest Destiny" (The Brooklyn Museum of Art, 2004);
- Some Thoughts on Interracial Friendship, "In Emily Bernard, ed., Some of My Best Friends: Writing on Interracial Friendships (HarperCollins, 2004);
- "Epilogue: The Modigliani Myth," in Mason Klein, ed., Modigliani: Beyond the Myth (Yale, 2004); "The Cat Upstairs," (on Sammy Davis, Jr.) in Israel (Princeton, 2003);
- "Introduction: Gravity's Rainbow," in Adam Weinberg and Hendel Teicher, eds., Trisha Brown: Dance and Art in Dialogue, 1965-2000 (MIT Press, 2002);
- "The Image Under Erasure," in Thelma Golden, ed., Gary Simmons (Studio Museum in Harlem and Museum of Contemporary Art, Chicago 2002);
- "Andy Warhol's Pleasure Principle," in Jonathan Binstock, Andy Warhol: Social Observer (Pennsylvania Academy of Fine Arts, 2000);
- “Theater: A Pitiless Mirror Where Audience See Themselves” (on Rebecca Gilman's Spinning into Butter), The New York Times (23 July 2000), Arts & Leisure Section, pp. 5, 10; and "Look in the Mirror for Racial Attitudes," Los Angeles Times (26 February 1999), p. B7.