Andrew V. Uroskie
Areas of Specialization: Postwar and Contemporary European and American Art, Moving Image and Sound‐Based Practices, Photography and Performance
Ph.D. University of California, Berkeley
Office: Staller Center for the Arts #4221
Andrew V. Uroskie specializes in modern and contemporary art and the moving image. Broadly informed by psychoanalysis, phenomenology and post-structuralist philosophy, his work focuses on how durational media have helped to reframe traditional models of aesthetic production, exhibition, spectatorship, and objecthood.
Uroskie’s research into the history of expanded cinema was awarded the Chancellor’s Dissertation Fellowship at UC Berkeley, and he has held 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, sound and performance, and his essays have been published in the journals Grey Room (MIT), Organized Sound (Cambridge), Animation (Sage), Sequencias (Universidad de Madrid), Forum Italicum (SUNY), Journal of Visual Culture (Sage), Millenium Film Journal, and October (MIT), as well as within the edited collections The Moving Image (MIT), L’Exhibition du Film (Les Presses du Réel), This is Contemporary Art Today (Noosphere), Art and the Moving Image: A Critical Reader (Tate and Afterall); Pierre Coulibeuf: Dédale (Ibère Camargo); Screen/Space: The Projected Image in Contemporary Art (Manchester); Crowds (Stanford), Nam June Paik’s Interfaces (NJP Center), Expanding Cinema: Theorizing Film through Contemporary Art (Amsterdam), and Jonas Mekas: A Retrospective (Yale). His writing has been translated into French, Spanish, Brazilian Portuguese, Italian, Korean and Basque.
Uroskie is affiliated with Stony Brook’s Graduate Program in Philosophy and the Arts, and the gradute concentration in Media, Art, Culture and Technology. 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. He advises dissertations and master’s theses on a wide range of modern and contemporary topics, and from 2013-2017, served as the Director of Graduate Studies for the MA/PhD Program in Art History and Criticism. He currently serves on the editorial boards of Afterimage: the Journal of Media Arts and Cultural Criticism (UC Press), Postfactum: art, science, and technology (Lausanne), and HART: Revista de Historia, Teoría y Crítica de Arte (Bogota), and he featured in the documentary Ken Dewey: This is a Test (Sally Williams, 2016) on the late American performance artist.
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 reviewed in the journals Leonardo, Visual Studies, Millenium Film Journal, Afterimage, Critique d’Art, ARLIS, Choice-Connect, and theCollege Art Association, and is widely cited within the literature as a crucial reference for the emergence of film and video within contemporary art. It is currently being published in a Korean translation with a new forward, and a Spanish translation is forthcoming.
Winner of 2018 Creative Capital / Andy Warhol Foundation Arts Writers book award, his forthcoming study, The Kinetic Imaginary: Robert Breer and the Animation of Postwar Art, attempts to revise our understanding of Kinetic Art through an investigation of the interdisciplinary practices of Robert Breer and his milieu. A second book in progress, Remaking Reality: Science/Fiction, Media/Art, explores contemporary intersections of art and technology in the age of ubiquitous computing.