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.