Nizan Shaked
Nizan Shaked is author of Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) and The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art (Manchester University Press, 2017, winner of the 2019 Smithsonian Eldredge Award). Her article “Museums After Value-Form Theory,” is forthcoming in the Routledge Companion to Marxism in Art History. Select articles include: “American Monument: Race and Class” (Oxford Art Journal), “Getting to a Baseline on Identity Politics: the Marxist Debate,” (Routledge Companion to African American Art History), and “Propositions to Politics: Adrian Piper’s Conceptual Artwork,” in Adrian Piper: A Reader(New York: The Museum of Modern Art). She is a professor of contemporary art history, museum and curatorial studies, at California State University Long Beach.
Websites
- linktr.ee/nizanshaked
- csulb.academia.edu/NizanShaked
- www.researchgate.net/profile/Nizan-Shaked/research
Links to podcast and video:
- PhD, Department of Cultural Studies, Museum Studies, Claremont Graduate University, 2008
- MA, Department of Fine Art, Critical and Curatorial Studies, University of California Los Angeles, 2002
- MFA, Otis College of Art and Design, 2000
- Professional Pedagogues Certificate (B.Ed equivalent), Beit Berl College, Midrasha School of Art. Ramat Hasharon, Israel, 1994
2022 Museums and Wealth: the Politics of Contemporary Art Collecting, London: Bloomsbury Academic.
- Choice Outstanding Academic Title 2023
- Podcast with Georgina Adam and Pierre d'Alancaisez, New Books Network. Here is the link to access the Podcast website: newbooksnetwork.com/museums-and-wealth
- Artnet News pick of the year. Here is the link to access the article: news.artnet.com/art-world/art-books-2022-2226080
2017 The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art, Manchester University Press.
- Awarded Smithsonian American Art Museum’s 31st annual Charles C. Eldredge Prize for Distinguished Scholarship in American Art, 2019. - Here is the link to access the article: www.youtube.com/watch?v=MGxGb2GLvno&t=6s
- Awarded Wyeth Foundation for American Art College Art Association Publication Grant, 2015.
Awarded, Deutscher Akademischer Austauschdienst (DAAD) Faculty Research Grant, Berlin: Adrian Piper Archive Research Foundation, 2012.
- 2025 Forthcoming: “Museums After Value-Form Theory,” Routledge Companion to Marxism in Art History, eds. Brian Winkenweder and Tijen Tunali. In production.
- Forthcoming: “Taxing the Art Resale Market: A Proposal for Regulating the Field,” Routledge Companion to Art and Capitalism, ed. Danielle Child. Submitted.
- 2024 Forthcoming: “From the Synthetic to the Hyperbolic Proposition—Distinguishing Subjectivity from Identity,” in Subjectivation and Gender Politics in Conceptual Art, eds. Paula Stoica and Felix Vogel, Berlin: PoLYpeN. In production.
- 2021 “Subjugated Knowledges, Revisionist Histories, and Visibility: Carrie Mae Weems and Ken Gonzales-Day,” in Art and the Dynamics of, Suppression, and Censorship, eds. Catha Paquette et. al London: Bloomsbury, 27–36.
- 2019 “Getting to a Baseline on Identity Politics: The Marxist Debate,” Routledge Companion to African American Art History, ed. Eddie Chambers, 209–218.
- 2018 “Propositions to Politics: Adrian Piper’s Conceptual Artwork,” Adrian Piper: A Reader, eds. Cornelia H. Butler and David Platzker. New York: the Museum of Modern Art, 68–101.
- 2015 “Is Identity a Method? A Study of Queer Feminist Praxis,” Otherwise: Imagining Queer Feminist Art Histories, eds Amelia Jones and Erin Silver. Manchester University Press, 204-225.
- 2025 Forthcoming: “Notes on the Tensions Between Social Reproduction and Value Form Informed Theories in Art Criticism,” Guernica Society Yearbook on Art and Politics, eds. Sebastian Hammerschmidt, Kaja Ninnis, Charlotte Püttmann
- 2024 “The Materialist Unconscious,” article-review of “‘Mary Kelly’s Concentric Pedagogy: Selected Writings’, edited by Juli Carson (Bloomsbury, 2024),” Third Text Online www.thirdtext.org/shaked-concentricpedagogyreview
- 2023 “Who Funds American Art?," Colloquium for the Terra Foundation: Towards a More Inclusive Digital Art History," Panorama: Journal of the Association of Historians of American Art. journalpanorama.org/article/against-the-private-museum/
- “Against the Private Museum.” Edited by Diana S. Greenwald. Panorama: Journal of the Association of Historians of American Art, Reflecting on ‘Toward a More Inclusive Digital Art History,’ 9, no. 2 (Fall 2023). doi.org/10.24926/24716839.18320.
- 2022 “American Monument: Racism and Class” Oxford Art Journal. Volume 45, Issue 2: Art and Class Today, ed. Jacopo Galimberti, 289–305
- Roundtable: “What Is Radical?” ARTMargins10th anniversary special issue, eds. Saloni Mathur et. al. MIT Press, 79-81.
- “Dear Billionaire: An Open Letter to Museum Patrons,” Artnet News: Burns Halperin Report, December 21, 2022.
- 2021 “Feminism, Instituting, and the Politics of Recognition,” co-authored with Angela Dimitrakaki, On Curating special issue: Instituting Feminism, eds. Helena Reckitt and Dorothee Richter. Issue 52, Dec, 11-20. www.on-curating.org/issue-52-reader/feminism-instituting-and-the-politics-of-recognition-in-global-capitalism.html#.YeNqkCyIYic
- 2020 “Sonia Boyce: Reclassifying Classification.” Afterall: A Journal of Art, Context and Enquiry 49 (March 1): 27–36. doi.org/10.1086/709631
- “Museums, Academy and Call-out Culture: A Defense.” Panorama: Journal of the Association of Historians of American Art Colloquium, 6, no. 2 (Fall). doi.org/10.24926/24716839.11061
- 2019 “Looking the Other Way: Art Philanthropy, Lean Government, and Econo-Fascism in the USA.” Third Text 33, no. 3, special issue on Art and Fascism (July 29, 2019): 375–95. doi.org/10.1080/09528822.2019.1628439
- 2018 “Words Toting Their Contexts: Rasheed Araeen’s Criticism of Racial Relations Bureaucracy.” Afterall: A Journal of Art, Context and Enquiry 45 (March 1, 2018): 68–79. doi.org/10.1086/698396
- 2017 Article-review of “Dave Beech, Art and Value: Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics.” Historical Materialism 25, no. 4 (2017): 183–200. www.historicalmaterialism.org/book-review/art-and-value-reviewed-nizan-shaked
- 2021 “Take Care—However: Smallpox Blankets in Sydney Cove, the work of Shevaun Wright” in, Rewriting: The Politics of Care, ed. Macushla Robinson, in·ter·sti·tial press, 63-68.
- 2018 “Animating a Still History: the Past’s Presence in the Work of Terry Adkins,” in eds. Gean Moreno and Alex Gartenfeld Terry Adkins: Infinity is Always Less Than One, Miami: Institute of Contemporary Art, and Duke University Press.
- “Voices in Dialogue: Alexander Alberro and Nizan Shaked.” Adrian Piper: The Long View Symposium, UCLA Hammer Museum, Los Angeles, co-presented with The Museum of Modern Art, New York. Oct 7. www.youtube.com/watch?v=n_M18IHf8N0&t=1809s
- 2010 “The Presence of Los Angeles: Prescription and Prediction,” How Many Billboards? Art Instead, Los Angeles: MAK Center for Art and Architecture, Nürnberg: Verlag für moderne Kunst: 2010. 106-117. Artist entries for: Kenneth Anger, Christina Fernandez, Ken Gonzales-Day, John Knight, Daniel Joseph Martinez, Kori Newkirk, and Susan Silton.
- 2008 “Simulated Realities: The Art of Jennifer Steinkamp,” 11th International Cairo Biennial. U.S. Presentation, Los Angeles: MAK Center for Art and Architecture, 2008. 29-51, co-authored with Kimberli Meyer.
- “Interview with Raymond Pettibon,” Orange County Museum of Art 2008 California Biennial, Newport Beach, 166-167.
- 2010 How Many Billboards? Art Instead (co-curated with Kimberli Meyer, Gloria Sutton and Lisa Henry), MAK Center for Art and Architecture, Los Angeles. Public exhibition on billboards on intersections of West-coast Pop art and conceptualism, Feb. 26-March 31, 2010.
- makcenter.org/programming/how-many-billboards-art-in-stead/#Gonzales-Day
- 2006 Symmetry (co-curated with Kimberli Meyer), MAK Center at the Schindler House, CA, Co-Curator: Jan. 26 - May 07.
Reviewed:- Cindy Chang, LA Times, Home, Thursday January 19, 2006.
- Annie Buckley, Artweek, June 2006
- Eve Wood, Art Papers, July/August 2006
- Peter Frank, “Pick of the Week,” LA Weekly, May 5, 2006
- 2004 The Politics of Memory, the intersection of personal memory with ideology and politics, Occidental College Galleries, Department of Art and Art History.
- 2003 Measures of Time, the concept of time articulated in material objects, Occidental College Galleries.
- Fangs & Low Tide: Amy Sarkisian and Katie Grinnan, sculpture as a tautological medium, Occidental College Galleries.
- The Real Me, contemporary returns to indirect portraiture, Occidental College Galleries.
- 2002 The Distance Between My House and the Beach, interpreting the Los Angeles urban landscape, Occidental College Galleries.
- Fetish: Art/Word, University of California Los Angeles. Fowler Museum of Cultural History (MA Thesis).
- 2018 Visiting Fellow, Department of Modern and Contemporary Art: History, Curating and Criticism, University of Edinburgh, March 15-30.
- 2011 Multi-disciplinary Research Award (with Dr. Nhora Lucia Serrano) for Drawing the Line(s): An Interdisciplinary Study of Censorship in Art & Literature, Academic Affairs and the Office of Research & Sponsored Programs, California State University Long Beach.
- 2008 Emily Hall Tremaine Exhibition Award (with Kimberli Meyer) for How Many Billboards?: Art Instead.
- 2004-Editorial board member: American Art, the scholarly journal of the Smithsonian American Art Museum, co-published by the University of Chicago Press, 2023-2027
- 2021-22 Juror: Smithsonian American Art Museum’s annual Charles C. Eldridge Prize for Distinguished Scholarship in American Art.
