Luke Skrebowski

Luke studied art history, aesthetics and art theory at Middlesex University for his MA and PhD (History of Art and Design/Centre for Research in Modern European Philosophy) and before that read English at King’s College, Cambridge. He joined the department at Manchester in 2016 and before that was University Lecturer at the University of Cambridge (2010–15) and a Fellow of Churchill College. Luke’s research and teaching focus on the history and theory of late 20^th and early 21^st century art in the UK, Europe, the USA and Brazil, specialising in postconceptual contemporary art and its historical genealogy. His other research interests include: the history and theory of photography and the technical image (with a focus on photoconceptualism and its legacies), art theory and philosophical aesthetics, critical theory. He is author (with John Jacob) of Trevor Paglen: Sites Unseen (Smithsonian American Art Museum, 2018), co-editor of Aesthetics and Contemporary Art (Sternberg Press, 2011) and is completing a book entitled Conceptual Art under Technocracy: Radical Art, Aesthetics and Politics after 1968. His articles have appeared in journals including Amodern, Art History, Art Margins, Grey Room, Manifesta Journal, Tate Papers and Third Text and he sits on the editorial board of the MIT journal Art Margins. Luke wrote catalogue essays for the Generali Foundation’s Amazing! Clever! Linguistic! An Adventure in Conceptual Art (2013) and the Tate’s Conceptual Art in Britain: 1964-79 (2016) and co-curated the exhibitions “Counter-Production” (2012) at the Generali Foundation and “Plastic Words” (2014-15) at Raven Row. His current research explores two, related areas: the exhaustion of Institutional Critique; the computational and ecological turn (beyond nature) by contemporary artists.