Age, Biography and Wiki

Malcolm Rogers (curator) (Malcolm A. Rogers) was born on 3 October, 1948 in Scarborough, North Yorkshire, England, United Kingdom, is a historian. Discover Malcolm Rogers (curator)'s Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of networth at the age of 75 years old?

Popular As Malcolm A. Rogers
Occupation N/A
Age 76 years old
Zodiac Sign Libra
Born 3 October 1948
Birthday 3 October
Birthplace Scarborough, North Yorkshire, England, United Kingdom
Nationality United Kingdom

We recommend you to check the complete list of Famous People born on 3 October. He is a member of famous historian with the age 76 years old group.

Malcolm Rogers (curator) Height, Weight & Measurements

At 76 years old, Malcolm Rogers (curator) height not available right now. We will update Malcolm Rogers (curator)'s Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Malcolm Rogers (curator) Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Malcolm Rogers (curator) worth at the age of 76 years old? Malcolm Rogers (curator)’s income source is mostly from being a successful historian. He is from United Kingdom. We have estimated Malcolm Rogers (curator)'s net worth , money, salary, income, and assets.

Net Worth in 2023 $1 Million - $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
House Not Available
Cars Not Available
Source of Income historian

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Timeline

2019

Collections acquired in this period include Axelrod (African American art), Farago (contemporary craft), Hartman (English silver), Lane (19th- and 20th-century photography), Lehman (West African art from the Kingdom of Benin), Pflueger (German porcelain), Rothschild (European jewelry, art, and decorative arts), Schusterman (Judaica), Sharf (fashion jewelry, design, and Japanese art), Teel (African, Oceanic, Ancient American, and Native American art), and Wornick (contemporary craft). Acquisitions of English and European silver, including many Kunstkammer objects, have made the MFA one of the most significant holders of such artifacts in the Americas.

2014

Upon the 2014 announcement of Rogers’ planned retirement, The Globe reported that "the MFA grew considerably during Rogers’ tenure, with the endowment rising from $180 million to $602 million." Having run 20 straight years of balanced operational budgets, he left the museum on firm financial footing with a robust staff to care for the museum's collection and continue his legacy of community enrichment and global engagement.

2013

Rogers was criticized during his tenure at the MFA for his large salary and benefits packages that he received as director. In 2013, it was reported that he received a total compensation of over $900,000 including health and pension benefits and a housing allowance. However, in 2010 Rogers was named a Great Benefactor, recognizing gifts to the museum in excess of $2.5 million—the first MFA Director to earn this distinction.

2011

In 2011, the museum's I.M. Pei-designed west wing was renovated and reopened as the Linde Family Wing for Contemporary Art, with seven new galleries, educational classrooms, and expanded space for community gatherings. Throughout Rogers’ tenure, he built or renovated 97 of the MFA's 143 galleries, described by art critic Sebastian Smee as having "dedicated great energy to the revamping of the museum’s permanent galleries."

Rogers is a member of the American Academy of Arts and Sciences and of the Society of Antiquaries of London. In 2011–2012, he was Humanitas Visiting Professor in Museums, Galleries, and Libraries at Oxford University.

2010

Opened in 2010, the wing was a milestone achievement for Rogers, featuring 53 new galleries and housing 5,000 American works of art spanning three millennia—from Ancient Americas, to revolutionary America, to the late 20th century. In addition to the wing and courtyard, the expansion included a new gallery for rotating exhibitions, a visitor center, an auditorium, educational spaces, and conservation labs. Under Rogers' direction, the museum's ‘Building the New MFA’ campaign raised $504 million. In all, the MFA received more than 25,000 contributions for the campaign, including 6,700 from first-time donors. Despite this success, the Museum took on $189 million in debt to fund the building projects, which had been reduced to $140 million by 2015 when Matthew Teitelbaum succeeded Rogers as Director.

2004

While projecting a conservative be-suited image, Rogers viewed himself as an agent of change. In a 2004 interview, he stated, "I wanted this institution to feel the power and joy of change... And that we had to do it as one museum, that we couldn’t do this as a collection of departments and special interests. We’re all in the same boat." As a result, and working in a reactionary cultural environment, his directorship was not without moments of intense controversy, fanned by media interest.

2003

During Rogers’ tenure, the issues of museum ownership of other nations’ cultural property and of Holocaust restitutions aroused considerable concern. In response, the MFA conducted extensive provenance research on antiquities and European art in its collection, and the museum reached numerous ownership resolutions with Holocaust victims and foreign nations. Despite arguments with Guatemala in the late ’90s, the vast majority of repatriation inquiries resulted in mutually agreed conclusions with estates/heirs and countries, including Italy, Turkey, and Nigeria, as well as the resolution of Holocaust claims whenever justified. A non-combative approach to repatriation conversations with Italy led to a successful cultural partnership between the museum and the country. In 2003, Rogers established the Monica S. Sadler Curator for Provenance, an endowed role focused exclusively on collection-based provenance research, repatriation claims, and the rightful ownership of cultural property. The MFA's Curator of Provenance was the first position of its kind in the U.S.

2002

That same year, Rogers established the Director's Working Group on Diversity, comprising community leaders and MFA staff, which led to a range of community festivals and internship programs for teenagers, drawn from nearby schools and reflecting their diversity. In 2002, the museum released its Diversity Action Plan, prepared by Riscoe & Associates of Philadelphia, outlining steps to ensure the MFA is a trusted institution in which all Bostonians are stakeholders, and which truly represented the face of contemporary society.

2000

A desire to also make the museum's collection available to a world-wide audience led in 2000 to the launch of the MFA's online searchable collections database at mfa.org. By Rogers’ departure in 2015, virtually the entire collection of 450,000 objects were available online.

1999

In 1999, Rogers partnered with the Foundation for the Arts, Nagoya to open the Nagoya/Boston Museum of Fine Arts in Nagoya, Japan, marking the first time an American museum had opened a sister institution in Asia, and a significant step in further internationalizing the MFA's reputation. During the 20-year partnership, the N/BMFA presented over 30 exhibitions developed collaboratively by MFA and N/BMFA curators based on the MFA's collection and contributed considerable resources to scholarship and conservation.

Also in 1999, the MFA announced that the London-based, Pritzker Prize-winning architecture firm Foster and Partners had been hired to design a Master Site Plan for the museum that envisioned a transformative renovation and expansion of the building and site. Central to the plan was a new wing for the Art of the Americas collections and an adjacent glass-enclosed courtyard.

In 1999, in the process of creating departments of Art of the Americas and of European Art, which Rogers saw as a necessary unifying of the old divisions between paintings and decorative arts, and in preparation for the creation of the Art of the Americas Wing, the positions of two senior curators, Jonathan Leo Fairbanks (28 years tenure) and Anne Poulet (20 years tenure), were eliminated and the curators awarded Emeritus status. However, this rapidly became a ‘firing’ story in the media, and in academic circles was seen as an attack on tenure. Some MFA supporters were outraged. A number of art historians and staff at other art museums criticized Rogers' management style for featuring centralized decision-making (rather than individual curators retaining control over their fiefdoms) and for allegedly prioritizing financial stability over scholarship. Rogers, however, rejected these charges, saying that he was restructuring the organization, to bring paintings and decorative arts into closer conversation, as exemplified in the galleries of the new wing, and to bring overall directional focus to the MFA and not simply to centralize power.

1996

In 1996, Rogers eliminated admission fees for those aged seventeen and younger and extended museum opening hours to seven days and more than 60 hours a week. Rogers also instituted a series of free community days, cultural celebrations, and education programs, which allowed the MFA to welcome more than one million visitors annually. Rogers’ decision to open the museum for longer hours (at the time, the longest of any major museum in the US) and reach out to new audiences in the surrounding community brought him acclaim. His initiatives reflected his philosophy of "opening doors" and making the museum accessible to all, a decision described by Geoff Edgers of The Boston Globe as "a step toward rejuvenating the MFA."

Central to Rogers’ goal of stabilizing the museum's finances over the course of two decades was the endowment of 39 staff positions, including 28 in curatorial, nine in conservation, and two in education, and the museum recorded budget surpluses from 1996 until his retirement.

Some of his exhibitions, mounted with a view to broadening the museum's audience and shedding its elitist image, and which proved very popular with the public, attracted indignation in some areas: notably Herb Ritts: Work (1996), a retrospective of the Hollywood fashion and celebrity photographer, whom Rogers saw as a brilliant image-maker evoking a world without boundaries of class and sexuality; Dangerous Curves: The Art of the Guitar (2000), featuring guitars from the sixteenth century to those of contemporary rock stars; Speed, Style and Beauty: Cars from the Ralph Lauren Collection (2005), showcasing the famous American fashion designer's collection of luxury cars renowned for their remarkable design quality; and Things I Love: The Many Collections of William I. Koch (2005), displaying choice objects from Koch's many collections—from ancient Roman to contemporary American, including the contentious decision to exhibit two America's Cup yachts on the Huntington Avenue lawn.

1995

In 1995, as a gesture of welcome to the community upon the museum's 125th anniversary, Rogers reopened the Huntington Avenue doors, the original front entrance, closed in 1991 for financial reasons. In the Director's Report that year, Rogers referred to the reopening as "a deeply symbolic gesture, signifying the Museum’s commitment to the educational and social development of the many and varied communities of Boston and beyond," a promise that Rogers manifested throughout the following two decades. Rogers subsequently worked with Mayor Thomas Menino to rename Huntington Avenue the "Avenue of the Arts," further strengthening the MFA's link with the City. In the mid-aughts, Rogers also orchestrated the restoration and reopening of the museum's other historic entrance, the MFA's State Street Corporation Fenway Entrance overlooking the Back Bay Fens, closed for 30 years.

His London apartment was featured in Architectural Digest in January 1995, shortly after his move to Boston. In 2012, New England Home magazine featured Rogers’ house La Bastille in Royalston, Massachusetts, which had been the summer home of Zita, the last empress of Austria and queen of Hungary, after she fled Europe with her children during World War II.

1993

Prior to his role as Director of the MFA, Rogers worked his way up from Librarian and Archivist to Deputy Director at the National Portrait Gallery in London. An expert on 16th-, 17th-, and 18th-century portraiture, he has published on painting in England in the 17th century, notably on Anthony van Dyck and William Dobson, as well as on portrait photography, and London and its museums. In 1993 he was passed over for the position of Director of the National Portrait Gallery, and in the following year was appointed the Ann and Graham Gund Director of the Museum of Fine Arts, Boston, where he remained until his retirement in 2015.

1948

Malcolm Austin Rogers, CBE (born 1948 in Yorkshire) is a British art historian and museum administrator who served as the inaugural Ann and Graham Gund Director of the Museum of Fine Arts, Boston, Massachusetts, from 1994 through 2015, the longest serving director in the institution's 150-year history. In this role, Rogers raised the status of the museum locally, nationally, and internationally, and brought both extensive popularity and occasional controversy to the museum.

1880

Following his retirement from the MFA, Boston, Rogers returned to England and now lives with his partner in Broadway in the Cotswolds in a house that in the 1880s was the center of ‘the Broadway Colony’ of English and American artists and writers, among them John Singer Sargent, Edwin Austin Abbey, Sir Lawrence Alma-Tadema, Edmund Gosse, and Henry James. The house was owned by Francis Davis Millet, a Founder of the School of the Museum of Fine Arts in 1870, who was offered but rejected the directorship of the MFA in 1906. Millet perished on the Titanic in 1912.