Nizan Shaked
Nizan Shaked is Professor of Contemporary Art History, Museum and Curatorial Studies at CSULB. Her book The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art (Manchester University Press, 2017) is a winner of the 2019 Smithsonian American Art Museum Charles C. Eldredge Prize for Distinguished Scholarship in American Art; a 2015 Wyeth Foundation for American Art College Art Association Publication Award, and was supported by a DAAD grant for research at the Adrian Piper Foundation, Berlin, in 2012. Her manuscript Museums and Wealth: the Politics of Contemporary Art Collections, is forthcoming with Bloomsbury Academic.
- PhD, Claremont Graduate University, Cultural Studies—Museum Studies Specialization, 2008
- MA, University of California—Los Angeles, Fine Art—Critical and Curatorial Studies, 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
Museums and Wealth: the Politics of Contemporary Art Collections (London: Bloomsbury Academic, Forthcoming 2021).
The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art (Manchester: Manchester University Press, 2017).
“What Is Radical?” Edited by Saloni Mathur. ARTMargins, 10th anniversary edition (2021).
“So Much for Philanthropy: The Marciano and ‘All the Usual Suspects’ — A Los Angeles Perspective.” East of Borneo, May 12, 2020
“Getting to a Baseline on Identity Politics: The Marxist Debate.” In The Routledge Companion to African American Art History, edited by Eddie Chambers, 209–18 (New York: Routledge, 2019).
“Looking the Other Way: Art Philanthropy, Lean Government, and Econo-Fascism in the USA.” Third Text 33, no. 3 (July 29, 2019): 375–95.
“Propositions to Politics: Adrian Piper’s Conceptual Artwork.” In Adrian Piper: A Reader, edited by Cornelia H. Butler and David Platzker, 68–101. New York: the Museum of Modern Art (2018)
“Dave Beech, Art and Value: Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics.” Historical Materialism 25, no. 4 (2017): 183–200.
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.
Symmetry (co-curated with Kimberli Meyer), MAK Center at the Schindler House, West Hollywood, CA, Co-Curator: Jan. 26 - May 07, 2006.
