Lorena Salcedo-Watson

LORENA SALCEDO-WATSON, Lecturer, Visiting Artist
Drawing, Printmaking, Intaglio, Experimental Printmaking
M.F.A. Stony Brook University
Office: Staller Center for the Arts #4294

Lorena Salcedo-Watson is an artist and printmaker. Her current work consists of large-scale drawings and prints. Her imagery focuses on the relationships between the structures and essential qualities of life forms. Based on a fascination with human anatomy, botany, and entomology, her imagery transforms and re-interprets aspects of nature, filtering through personal experience, observation, and imagination.

Her professional work has primarily been in the field of printmaking. She worked at Universal Limited Art Editions (U.L.A.E.) for fourteen years as a master printer and collaborator. She was involved in developing projects utilizing a broad range of printmaking techniques including intaglio and photogravure, stone and plate lithography, as well as relief printing, silkscreen, and monotype. Artistic collaborations involved traditional as well as unconventional approaches to printmaking. Multi-media projects include: limited edition books, three-dimensional assembled prints, and hand-sewn three-dimensional multiples. She has worked with artists including; Elizabeth Murray, Terry Winters, Jasper Johns, Robert Rauschenberg, James Rosenquist, Kiki Smith, Suzanne McClelland, Carroll Dunham, Susan Rothenberg, Julian Lethbridge, Jane Hammond, Lisa Yuskavage, Ellen Gallagher, and Malcolm Morley.

She taught intaglio printmaking at Cooper Union, is on the faculty of St. Joseph’s College, and currently teaches lithography at Stony Brook University.

Recent exhibitions include the Marist College Art Gallery, the Jeanie Tengelsen Gallery of the Long Island Art League, the Center for Contemporary Printmaking in Norwalk, CT., the Patchogue Arts Council Biennial Exhibition, the OMNI Gallery in Uniondale, and the Bendheim Gallery of the Greenwich Arts Council in Connecticut.

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
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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 and film 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. He regularly speaks at symposia devoted to modern and contemporary art, film and media studies, visual culture, and continental philosophy across Europe and North America. Uroskie’s 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), and October (MIT), as well as within the edited collections, The Moving Image (Whitechapel/MIT), The Exhibition of a Film (Les Presses du Réel), This is Contemporary Art Today (Noosphere), Screen/Space: The Projected Image in Contemporary Art (Manchester); Art and the Moving Image: A Critical Reader (Tate and Afterall); Pierre Coulibeuf: Dédale (Ibère Camargo); and Crowds (Stanford). His writing has so far been translated into Spanish, Brazilian Portuguese, Korean and Basque.

Uroskie is affiliated with Stony Brook’s Consortium for Digital Arts, Culture and Technology (cDACT), the Graduate Program in Philosophy and the Arts, and the Graduate Program in Cinema and Cultural Studies. He 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. Since 2013, has 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 the journals Leonardo, Visual Studies, and Afterimage, as well as by the Art Libraries Society of North America and the College Art Association.



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.