Maya Schindler

Drawing, Art Studio
M.F.A. Yale University
Office: Staller Center for the Arts #4280

Maya Schindler (b. 1977 Jerusalem, Israel) received an MFA from Yale University in New Haven, Connecticut,  a BFA from the Bezalel Academy of Art and Design in Jerusalem, Israel. She  studied with the MA Student Exchange program for honors students at the School of the Musuem of Fine Art in Boston in 1999. She has held residencies at Meádiáum in St. Barthlemy, French West Indies,  CORE Fellow in Houston, Texas.

Selected solo exhibitions include Wishful thinking Wishful (part of Plastic poetics) at Miller Gallery, Carnegie Mellon University, in Pittsburgh, Pennsylvania ; We Make It Harder Then It Has To Be at the Glass Pavilion in Berlin ; Happy Endings at Meádiáum Gallery in St. Barthlemy, French West Indies ; Just Thinking at Devin Borden Hiram Butler gallery in Houston, Texas ; The New Deal at Anna Helwing Gallery in Los Angeles ; andIn Confidence at South First in Brooklyn. Selected group exhibitions include In The Beginning at UCSD Art Gallery in San Diego, California ; Stoneface at FOCA in Los Angeles ; Aporia at LACE in Los Angeles ; and In The Time Tunnel at Braverman Gallery in Tel Aviv.  Maya lives and works in Long Island NY.

Katy Siegel

KATY SIEGEL, Professor
Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art
Postwar and Contemporary European and American Art, Material and Social Histories, Curatorial Studies

Ph.D. University of Texas at Austin
Office: Staller Center for the Arts #4217

Katy Siegel is the inaugural Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art.  Previously she was Professor of Art History and Chief Curator of the galleries at Hunter College, CUNY; she has also taught at Princeton and Yale universities. Siegel’s primary interests include the relation between postwar and contemporary art, and scholarship that accounts for both material and social being/making. Her most recent book is an edited volume, The heroine Paint”: After Frankenthaler (2015); she is the author of Since ’45: America and the Making of Contemporary Art (reviewed in the Oxford Art Journal), which details the collision of American social history and European modernism (2011), as well as the editor and sole essayist of Abstract Expressionism (2011).  Her other books include Since ’45: America and the Making of Contemporary Art (Reaktion, 2011). She has written criticism and historical essays on contemporary and modern art for numerous institutions internationally, on artists including Wols, Georg Baselitz, Mark Bradford, Mary Weatherford, Al Loving, Sharon Lockhart, Alex Katz, and Frank Stella. Siegel is a Contributing Editor at Artforum and a Consulting Editor at The Brooklyn Rail; from 2010-2013 she was the Editor in Chief of Art Journal.

Siegel is also Curator-At-Large at the Rose Art Museum at Brandeis University, where her exhibitions have included Pretty Raw: After and Around Helen Frankenthaler (reviewed in The New York Times and the Boston Globe), Light Years: Jack Whitten, 1971-1974 (reviewed in Artforum), and The Matter that Surrounds Us: Wols and Charline von Heyl. Other curated exhibitions include High Times Hard Times: New York Painting, 1967-75, which toured internationally, was widely reviewed, and received an award from AICA.  She is the co-curator with Okwui Enwezor and Ulrich Wilmes of Postwar: Art Between the Atlantic and the Pacific, 1945-1965, opening at the Haus der Kunst, Munich, 2016.

Laura Sisti

LAURA SISTI, Assistant to the Chair
Office: Staller Center for the Arts #2224

Laura has been with the Art Department since January 2011. She has a joint appointment with the Theatre Arts Department, where she has been since 2008. Prior to joining the Arts, Laura has worked as an Administrative Assistant in Chemistry and Preventive Medicine.

Department of Art
Stony Brook University
2224 Staller Center for the Arts
Stony Brook, NY 11794-5400
Phone: +1 (631) 632-7250
Fax: +1 (631) 632-7261


Andrew V. Uroskie

ANDREW V. UROSKIE, Associate Professor
Postwar and Contemporary European and American Art, Moving Image and Sound‐Based Practices, Photography and Performance
Director of Graduate Studies in Art History and Criticism
Ph.D. University of California, Berkeley
Office: Staller Center for the Arts #4221

Andrew V. Uroskie specializes in late modern and contemporary art. His work is broadly informed by psychoanalysis, phenomenology and post-structuralist philosophy, and focuses on how durational media have helped to reframe our understanding of aesthetic production, exhibition, spectatorship, and objecthood in the contemporary era. Uroskie’s long-term interest is to bring together methodologies from art history, film, and media studies in order to provide a more sophisticated aesthetic, historical, and theoretical foundation for the criticism of contemporary audiovisual practices. His research into the history of expanded cinema was awarded the Chancellor’s Dissertation Fellowship at UC Berkeley, and he has held additional research fellowships at the Townsend Center for the Humanities and the Stanford Humanities Laboratory.

His essays have been published in the journals Grey Room (MIT), Animation (Sage),Organized Sound (Cambridge), Sequencias (Universidad de Madrid), Forum Italicum (SUNY), the Journal of Visual Culture (Sage), Millennium Film Journal, and October (MIT), as well as within the edited collections, The Moving Image (Whitechapel/MIT Press), The Exhibition of a Film (Les Presses du Réel), Screen/Space: The Projected Image in Contemporary Art (Manchester University Press), Art and the Moving Image: A Critical Reader (Tate and Afterall), This is Contemporary Art Today (Noosphere), Pierre Coulibeuf: Dédale (Ibère Camargo), Crowds (Stanford), Exhibited Cinema (Institut National de L’Histoire de l’Art), Reanimating Nam June Paik (Nam June Paik Center), Hiding in Plain Sight (Syracuse) and Expanding Cinema: Theorizing Film through Contemporary Art (Amsterdam). His writing has been translated into Spanish, French, Italian, Brazilian, Portuguese, Korean and Basque.

Uroskie is affiliated with Stony Brook’s Graduate Program in Philosophy and the Arts, and regularly conducts graduate seminars on the history and theory of experimental film and video, site-specificity, installation and environment, minimalism across the arts, and interdisciplinary critical methodologies. From 2013-2016, he served as the Director of Graduate Studies for the MA/PhD Program in Art History and Criticism, and he advises dissertations on a wide range of modern and contemporary topics.

Uroskie’s monographic study, Between the Black and the White Cube: Expanded Cinema in Postwar Art, was published in 2014 with the University of Chicago Press, and has been reviewed in Millennium Film Journal, College Art Association Reviews, Critique d’art: The International Review of Contemporary Art Criticism, Afterimage: The Journal of Media Arts and Cultural Criticism, Visual Studies, Choice: American Library Association, the Art Libraries Society of North America, and Leonardo: Journal of Arts, Sciences, and Technology. It will be published in a Korean translation with a new foreward in early 2019 by Hyunsil Press.

He is currently at work on two book projects. The first, The Kinetic Imaginary: Robert Breer and the Animation of Postwar Art, was selected for the Andy Warhol Foundation / Creative Capital Arts Writers Award for Monographic Studies in Contemporary Art. A second book, Remaking Reality: Video Art in the Post-Truth Era, will deal with contemporary video art in the age of social media. He is also writing an essay for catalog of the Pew-sponsored retrospective at Philadelphia’s Lightbox Film Center, Dream Dance: The Art of Ed Emshwiller (2019).

Six of his advisees have secured tenure-track positions in modern and contemporary art history, and three others have secured full-time employment as curators of modern and contemporary art.

Lorraine Walsh

LORRAINE WALSH, Visiting Associate Professor of Art,
Art Director and Curator of The Simons Center for Geometry and Physics
Art and Science, Digital/New Media Art, Drawing and Fine Art Animation
M.F.A. University of Pennsylvania
Office: Staller Center for the Arts #2224 & SCGP #312

Lorraine Walsh is an interdisciplinary new media artist and curator with a lifelong passion for discovery at the nexus of art and science. Walsh’s research in “sci-art” is located in the rich possibilities of the interplay, shared structure, and aesthetic expression intrinsic in natural and creative processes. Her work is exhibited internationally and she is the recipient of numerous grants and fellowships, including a National Science Foundation Award for visualizing radio astronomy, an e-MobiLArt Euro grant (European Mobile Lab for Interactive Media Artists Collaborative Project) for collaborative new media interactive installations, and an Andrew W. Mellon Foundation Fellowship Award. Additionally, Walsh’s work has been featured in The New York Times, the Leonardo Journal/The International Society for the Arts, Sciences and Technology, MIT Press and SciArt Magazine. As artist, director and curator, Walsh’s experience encompass creating scientific visualizations and curating for venues such as the Petrosains Discovery Centre & Science Museum, Kuala Lumpur, Malaysia; The Smithsonian Institution, Washington, DC; and the National Geographic Society.

Walsh’s academic appointments include Chair and Associate Professor of New Media at the University of North Carolina Asheville. Previously, she taught at Pratt Institute in Digital Design and Interactive Media. Other academic appointments and guest artist invitations/presentations include Drew University, University of Athens, Lafayette College, University of Lapland, Parsons Paris, Rutgers University, Vassar College, Wellesley College, Western Carolina University, and the University of Applied Arts Vienna.