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.