Prof. Dr. Megan Luke

• Since July 2023: Professor, Kunsthistorisches Institut, Eberhard Karls Universität, Tübingen
• 2022–2023: William C. Seitz Senior Fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC
• 2017–2018: Fellowship for Experienced Researchers, Alexander von Humboldt Foundation (Host: Kunsthistorisches Institut, Freie Universität, Berlin)
• 2017–2023: Associate Professor (with tenure), Art History Department University of Southern California
• 2013–2015: Collaborative Research Fellowship, American Council of Learned Societies
• 2011–2023: Executive Committee Member, USC Visual Studies Research Institute
• 2011–2017: Assistant Professor, Art History Department, University of Southern California
• 2009–2011: Harper-Schmidt Postdoctoral Fellowship, Society of Fellows, University of Chicago
• 2009: Ph.D., History of Art and Architecture, Harvard University
• 2008–2009: Mellon Dissertation Completion Fellowship, American Council of Learned Societies
• 2006–2007: Fulbright Grant, Germany (Host: Kunstgeschichtliches Seminar, Universität Hamburg)
• 2004–2005: Mongan Curatorial Fellow, Harvard Art Museums
• 2002–2003: Andrew W. Mellon Foundation Fellowship in Humanistic Studies
• 2004: A.M., History of Art and Architecture, Harvard University
• 1999: B.A., History of Art and Architecture, Yale University

• Art, architecture, and art writing in the 19th and 20th centuries
• History of photography and facsimile reproduction
• Abstraction, collage, and the spatial arts
• Photography, film, and facsimile reproduction
• Art in exile
• Historiography of art and visual studies

2022–2025: Project Director and Member, “Images Out of Time: Visual and Material Culture in a Digital Age,” Humanities Initiatives for Colleges and Universities, National Endowment of the Humanities am USC Visual Studies Research Institute

Kurt Schwitters: Space, Image, Exile. Chicago: University of Chicago Press, 2014. 352 pages. https://press.uchicago.edu/ucp/books/book/chicago/K/bo16956324.html

Herausgeberin: Kurt Schwitters, Myself and My Aims: Writings on Art and Criticism. Translation by Timothy Grundy. Chicago: University of Chicago Press, 2021. 656 pages. https://press.uchicago.edu/ucp/books/book/chicago/M/bo17998666.html

Mit Sarah Hamill herausgegeben: Photography and Sculpture: The Art Object in Reproduction. Los Angeles: Getty Publications, 2017. 328 pages.

Mit Harry Cooper herausgegeben: Frank Stella 1958 (New Haven: Yale University Press/Harvard Art Museums, 2006). 168 pages. https://yalebooks.yale.edu/book/9780300109177/frank-stella-1958

“The Ghost and the Rock: Albert Renger-Patzsch and the Shape of Time,” Art History 46, no. 1 (February 2023): 124–53. https://doi.org/10.1111/1467-8365.12696.

“Metalwork and Serial Sculpture in Germany, 1870–1930,” West 86th: A Journal of Decorative Arts, Design History, and Material Culture 28, no. 2 (Fall–Winter 2021): 284–89.

“An Introduction to Merz-Thought,” in Kurt Schwitters, Myself and My Aims: Writings on Art and Criticism (Chicago: University of Chicago Press, 2021), xiii–xxvi.

“The Factotum of Industry: Max Klinger’s Beethoven,” kritische berichte 48, no. 3 (October 2020): 81–94.

“Formlinge: Carola Giedion-Welcker, Hans Arp, and the Prehistory of Modern Sculpture,” Hans Arp and Other Masters of 20th Century Sculpture, ed. Jana Teuscher and Elisa Tamaschke (Berlin: Stiftung Hans Arp and Sophie Taeuber-Arp, 2020), 54–67.

“A Picture is a Shaped Thing” [on Frank Stella, Michael Fried, and Max Imdahl], OCTOBER 168 (Spring 2019): 148–65; deutsche Übersetzung, “Ein Bild ist ein geformtes Ding,” in Michael Frieds “Shape as Form” und die Kritik der Form von 1800 bis zur Gegenwart, eds. Ralph Ubl and Rahel Villinger (Munich: Wilhelm Fink, 2018), 103–122.

“Modern Sculpture, A Photobook,” in Instant Presence: Representing Art in Photography, ed. Hana Buddeus (Prague: Artefactum, 2018), 198–216.

“Painting in the Round,” Getty Research Journal no. 9, S1: Special Issue on Jackson Pollock’s Mural (2017): 149–82.

“Artificial Blindness: Objecthood and the Photography of Sculpture,” in Photography and Sculpture: The Art Object in Reproduction, eds. Sarah Hamill and Megan R. Luke (Los Angeles: Getty Publications, 2017), 138–52.

Mit Sarah Hamill, “Reproductive Vision: Photography as a History of Sculpture,” in Photography and Sculpture: The Art Object in Reproduction, eds. Sarah Hamill and Megan R. Luke (Los Angeles: Getty Publications, 2017), 1–32.

“Our Life Together: Collective Homemaking in the Films of Ella Bergmann-Michel,” Oxford Art Journal 40, no. 1 (March 2017): 27–48; deutsche Übersetzung, “Unser Zusammenleben: Kollektive Haushaltsführung in den Filmen von Ella Bergmann-Michel,” in Ella Bergmann-Michel und Robert Michel—Ein Künstlerpaar der Moderne ed. Karin Orchard (Hannover: Sprengel Museum, 2018), 105–17.

“The Wandering ‘Merzbau,’” in CIHA 2012: The Challenge of the Object / Die Herausforderung des Objekts. Proceedings of the 33rd Congress of the International Committee of the History of Art, eds. G. Ulrich Großmann, Petra Krutisch, and Almuth Klein (Nürnberg: Germanisches Nationalmuseum, 2013), 1242–44.

“Sculpture for the Hand: Herbert Read in the Studio of Kurt Schwitters,” Art History 35.2, Special Issue, “British Art and the Cultural Field, 1939-69” (April 2012): 234­–251; republished in British Art and the Cultural Field, eds. Lisa Tickner and David Peters Corbett (London: Wiley-Blackwell, 2012), 36–53.

“The Photographic Reproduction of Space: Wölfflin, Kracauer, Panofsky,” RES. Anthropology and Aesthetics 57/58 (Spring/Autumn 2010): 339–43.

“Spazio irradiante, fantasmagoria didascalica [Radiating Space, Didactic Phantasmagoria],” in Kurt Schwitters. Riga 29, ed. Elio Grazioli (Milan: Marcos y Marcos, 2009), 256–64.

“Objecting to Things,” in Frank Stella 1958, eds. Harry Cooper and Megan R. Luke (New Haven: Yale University Press, 2006), 1–65.