Kunsthistorisches Institut
Portrait Megan Luke

Prof. Dr. Megan R. Luke

Professur für Kunst der Moderne und Gegenwart

Stellvertretende geschäftsführende Direktorin

Raum 109
+49 (0)7071 29-78776
megan.lukespam prevention@uni-tuebingen.de
Sprechstunde im Wintersemester: Donnerstags 10−12 Uhr

Personal Website: www.meganluke.org 
Team

Vita

Seit Juli 2023
Professorin für Kunstgeschichte mit Schwerpunkt Moderne und Gegenwart am Kunsthistorischen Institut der Eberhard Karls Universität Tübingen

2026/2027
Senior Fellow, Henry Moore Institute, Leeds

2017−2023
Associate Professor, Department of Art History, University of Southern California

2022−23
William C. Seitz Senior Fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

2021
Gastwissenschaftlerin, Center for Advanced Studies, Ludwig-Maximilians-Universität, Munich; eikones—Zentrum für die Theorie und Geschichte des Bildes, Universität Basel

2019
Gastwissenschaftlerin, Swiss Institute of Art History (SIK-ISEA), Zürich; Stiftung Arp, Berlin

2017−2018
Forschungsstipendium für erfahrende Forschende, Alexander von Humboldt Stiftung; Gastwissenschaftlerin, Kunsthistorisches Institut, Freie Universität, Berlin

2015
Gastwissenschaftlerin, eikones/NFS Bildkritik, Universität Basel

2014
Lehrbeauftragte, International Graduate Summer School, eikones/NFS Bildkritik, Universität Basel

2013−2015
Collaborative Research Fellowship, American Council of Learned Societies

2011−2017
Assistant Professor, Department of Art History, University of Southern California

2009−2011
Collegiate Assistant Professor, Department of Art History, University of Chicago

Juni 2009
Promotion an der Harvard University („Space for Recognition: The Late Work and Exile of Kurt Schwitters, 1930−1948“); History of Art and Architecture, Film and Visual Studies

2008−2009
Dissertation Completion Fellowship, American Council of Learned Societies

2006−2007
Fulbright Grant, Kunstgeschichtliches Seminar, Universität Hamburg

2004−2006
Mongan Curatorial Fellow, Harvard Art Museums

Juni 2004
A.M., History of Art and Architecture, Harvard University („Frank Stella: 1958“)

2002−2003
Fellowship in Humanistic Studies, Andrew W. Mellon Foundation

Mai 1999
B.A., History of Art and Architecture, Yale University; A. Conger Goodyear Prize, Senior Thesis („Mary Miss: Toward a New Picturesque“)

CV als PDF-Download 

Forschung

Forschungsschwerpunkte
  • Kunst, Architektur und Kunstkritik des 19. und 20. Jh.
  • Geschichte der Fotografie und Faksimilereproduktion
  • Abstraktion, Collage und Raumgestaltung
  • Kunst im Exil
  • Historiografie der Kunst- und Bildwissenschaft
Aktuelles Internationales Forschungsprojekt

2025–2027: “Modernism's Future Pasts: Abstraction and Identity in ‘East-Central-Europe’, 1910-1930s”, Connecting Art Histories, Getty Foundation

Abgeschlossene Projekte

2022–2025: „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

Publikationen

Monographien / Herausgeberschaften

Aufsätze

  • “‘Like Specters from the Past’: Erin’s Shirreff’s Medium Historicity,” in Erin Shirreff, ed. Taylor Walsh (New York: Gregory R. Miller & Co., 2026), 6−19.
  • “Monuments and Miniatures in the Photogrammetric Imagination,” in Scalability and its Limits in Photography and (Digital) Sculpture, eds. Buket Altinoba, Maria Männig, and Ursula Ströbele (Berlin: De Gruyter, 2026), 128–43.
    https://www.degruyter.com/document/doi/10.1515/9783111374888/html
  • “Der Autor als Ersatzteil. Albert Renger-Patzsch in den 1950er Jahren”, Fotogeschichte 168 (2023): 11-20.
  • “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.

Beiträge in Ausstellungskatalogen

  • “Dans la maison du Merzbau,” in Kurt Schwitters. Le chaos-monde, 1918−1948 (Paris: Musée Picasso, 2026), 144−55.
  • “Sculpture’s Artificial Intelligence: Electrotyping, Photography, and Photo-Sculpture” in Solid Pictures: Photosculpture and the Making of Modern Likeness, ed. Patrick Crowley (Stanford: Cantor Arts Center, 2026), 26–35.
  • “The Consequences of Things”, in Medardo Rosso, ed. Heike Eipeldauer (Cologne and Vienna: Verlag der Buchhandlung Walther und Franz König; Museum moderner Kunst Stiftung Ludwig, 2024), 64-78.
  • “Sculpture in an Age of Mass Reproduction,” Future Bodies from a Recent Past: Sculpture, Technology, and the Body since the 1950s (Munich: Museum Brandhorst, 2022), 195–202.
  • “A Withdrawal from Appearance: George Grosz and Kurt Schwitters,” in Private Passion, Civic Spirit: Robert Gore Rifkind and German Expressionism, eds. Stephanie Barron and Timothy O. Benson (Los Angeles: Los Angeles County Museum of Art, 2021), 72–79.
  • “Kurt Schwitters: Systemschrift,” in Engineer, Agitator, Constructor: The Artist Reinvented, 1918–1939, eds. Jodi Hauptman and Adrian Sudhalter (New York: The Museum of Modern Art, 2020), 208–13.
  • “Hall of Mirrors,” in Günther Förg: A Fragile Beauty, ed. Gavin Delahunty (Dallas and Amsterdam: Dallas Museum of Art/Stedelijk Museum, 2018), 84–91.
  • “The Art History of Intensive Intentions: Der Hang zum Gesamtkunstwerk,” in Harald Szeemann: The Kingdom of Obsessions, eds. Glenn Phillips and Philipp Kaiser (Los Angeles: Hammer Museum and Getty Research Institute, 2018), 182–99; deutsche Übersetzung, “Eine Kunstgeschichte intensiver Intentionen,” in Harald Szeemann. Museum der Obsessionen (Zurich: Scheidegger & Spiess, 2018), 183–200.
  • “The Trace of Transfer: Displacement on Paper” in Artists in Exile: Expressions of Loss and Hope, ed. Frauke Josenhans (New Haven: Yale University Art Gallery, 2017), 128–41.
  • “Corollary Happenings: On Frederick Kielser’s Galaxies,” in Frederick Kiesler: Life Visions, eds. Dieter Bogner, Maria Lind, and Bärbel Vischer (Vienna: MAK Österreichisches Museum für angewandte Kunst/Gegenwartskunst, 2016), 166–171.
  • “Still Life/Commodity,” in New Objectivity: Modern German Art in the Weimar Republic, 1919–1933, eds. Stephanie Barron and Sabine Eckmann (Los Angeles: Los Angeles County Museum of Art, 2015), 228–41.
  • “Togetherness in Exile: Kurt Schwitters’ English Sculptures,” in Schwitters in Britain, eds. Emma Chambers and Karin Orchard (London: Tate Britain, 2013), 42–55; deutsche Übersetzung, “Miteinander im Exil,” Schwitters in Britain (Ostfildern: Hatje-Cantz, 2013), 42–55.
  • “Kurt Schwitters,” in Eye on a Century: Modern & Contemporary Art from the Collection of Charles B. Benenson, ed. Cathleen Chaffee (New Haven: Yale University Art Gallery, 2012), 46–48.