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Biography
contact : nizanshaked@hotmail .com
EDUCATION
M.F.A. Otis College of Art and Design, Los Angeles, CA, May 2000.
Bachelor of Education (B.Ed.) Beit Berl College - School of Art, Israel, 1993.
Currently enrolled student, MA Critical and Curatorial Studies, UCLA.
EXHIBITIONS
No Live Girls, Nada Show
World, Time Square, New York, NY, April 1, 2000.
www.nolivegirls.org
2000 master of Fine Art Exhibition, Otis College of Art and design,
Los Angeles, CA, May 12 - June 17, 2000.
HMO/SUV/IPO Projections: Intermission Images VIII, a Side Street Projects Production, Laemmle Grand Fourplex Movie Theater, Los Angeles, CA, June 22 - July 31, 2000.
Aria, Curated by Holly Myers, Art Space Venice, February 15 - February 20
One Night Stand @ Park Plaza Lodge Hotel, Curated by Leonardo Bravo and Annetta Kapon, Los Angeles, CA, January 28 2000.
Outrageous: Spectacular Visual Commerce and Its Discontents, exhibition juried by Bruce Yonemoto for the Society of Photographic Education Conference, Otis Gallery, Los Angels, CA, November 1999.
Sunspot Laboratory Show, Cal State LA Fine Art Gallery, Los Angeles, CA, July 15 - August 27, 1999.
CAA MFA, Juried Exhibition, Los Angeles Municipal Art Gallery Barnsdall Art Park, Los Angeles, CA, February 3 - February 14 1999.
The Full Load of the Sign I II III, Curated by Ilana Tennenbaum, Ami Steinitz Gallery, Tel-Aviv, Israel, June 1996.
The Full Load of the Sign II, Curated by Ilana Tennenbaum, The Studio At Borochove Gallery, Tel-Aviv, Israel, October 1995.
Burned Twice, Installation in collaboration with Noa Levi, The Studio At Borochove Gallery, Tel-Aviv, Israel, September 1994.
UPCOMING EXHIBITIONS
No Live Girls, Nada Show World, Time Square, New York, NY,
April 1 - May 30, 2000.
www.nolivegirls.org
A Video Exhibition, Studio 870, Los Angeles, CA, Spring, 2001.
PANELS
Speaker, Voyeur, Society of Photographic Education, 2000 annual conference, San Diego, CA, November 17-19.
Responder for Why Painting Now, a panel in conjunction with the Examining Pictures Show, Armand Hammer Museum, Los Angeles, CA, 2000. (Honorarium)
GRANTS & AWARDS
Ruth Perskin Endowment Fund, Critical and Curatorial Studies, UCLA, 2000-01.
Recognition by Faculty Scholarship, Otis College of Art and Design, 1999-2000.
Gail And Stuart Buchalter Graduate Award, Otis College of Art and Design, 1999.
Otis Gallery Graduate Studies Assistant, Chair of Graduate Studies, Otis College of Art and Design, 1999.
Otis Grant, Otis College Of Art and Design, 1999.
Scholarship to attend 87th Annual College Art Association Conference, 1999.
Otis Grant, Otis College Of Art and Design, 1998.
Distinction Grant, Beit Berl College - School of Art, 1992.
Artist's statement February 2001
The video work on view in this exhibition was made over a period of two years."Low-Tech Action Hero" is how I refer to the first body of work. Stemming from issues of identity construction, the work gradually migrated into the comfort zone of an unapologetic embrace of characters the author desires to be.
The protagonist begins her initiation with "Masteries". She cuts her hair, works out, learns to use her vehicle and is schooled in a contemporary version of faux karate. At the end of the day, we are left with a girl bumping into a wall, within the perspectival space of an empty industrial building.
In "I Read" our warrior proceeds to battle with the paternal figures of a much-admired conscious left. The fathers of culture are all represented by the epitome of "critical correctness", Bertold Brecht. Realizing that she will never have the luxury and access to the means of production our heroin re-camps to a public bathroom to recoup her spectacular position .
If the artist is subject, analyst and viewer in the production of "Projections" narcissism can be recruited as an affirmative term . Finally, a liberated persona can be captured in frames, to be reanimated in the fashion of video games, and condensed to "The Move".
The pieces "A Story" and "Interpretation" (In collaboration with Patrick Hill) take on the subject matter of interpretation, as a methodology for engendering a supplementary narrative. Authentic and constructed childhood memories or dreams get reshuffled and told in frameworks resembling auditions, interviews, therapy or confession. Freud's conclusion, in the case of the wolf-man, that for the purpose of analysis consistency is what matters - a constructed persona is a valid subject for therapy. Analogously, in screen memories a recollection of the past via the psyche reveals hierarchies and systems of an internal logic, the smallest detail may be an important signifier. The context of art allows me to reshuffle materials in a way that blurs distinctions and conflates parameters in systems of interpretation gone wack.
Nizan Shaked
2001
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