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ANDREW V. UROSKIE, Assistant Professor, Late Modern and Contemporary Art, Photography and the Moving Image. Ph.D. University of California, Berkeley. Andrew V. Uroskie specializes in the history and criticism of late modernism, with an emphasis on the use of film and photography in the art of the 1960s and ‘70s. His interdisciplinary work is broadly informed by an interest in psychoanalysis, phenomenology and post-structuralist critical theory. At UC Berkeley, where he defended his Ph.D in 2005, he was awarded the Chancellor’s Dissertation Fellowship for his research on film and contemporary art as well as numerous awards for the study of philosophy and visual culture. He has held research fellowships at the Townsend Center for the Humanities and the Stanford Humanities Laboratory, and has accepted invitations to speak on the history and theory of modern and contemporary art in Venice, Edinburgh, London, Vancouver and across the United States. His interdisciplinary research has been presented at symposia devoted to modern and contemporary art, film studies, visual culture and continental philosophy. His long-term interest is to bring methodologies from the disciplines of art history and film studies together in order to provide a more sophisticated aesthetic, historical, and theoretical foundation for the criticism of contemporary time-based art. The book he is now finishing, Between the Black Box and the White Cube: The Emergence of the Moving Image in Contemporary Art, begins this project by locating the origins of contemporary video installation within the historically and conceptually neglected terrain of “Expanded Cinema” in the early 1960s. Currently under contract, it will be published by the University of Chicago Press as an original paperback in 2008. Andrew’s essay “La Jetée en Spirale: Robert Smithson’s Stratigraphic Cinema” was published in Grey Room in time to coincide with the artist’s traveling retrospective, and his recent work on the conjunction of cinema and site-specificity in contemporary art is being anthologized in Art and the Moving Image: A Critical Reader (Tate and Afterall); The Place of the Moving Image (Minnesota); Screen/Space: The Projected Image in Contemporary Art (Manchester), and Impossible Cinema, vol.2 of the Spanish artist Olga Adelantado's project Six Impossible Things Before Breakfast (Centro Montehermoso). Andrew's interest in the role of film and photography within the historic avant-gardes, as well an interest in the potential of new media for humanities scholarship, led to a collaboration with the Stanford Humanities Laboratory's “Crowds” project. He produced a media gallery for the traveling exhibition Revolutionary Tides: The Art of the Political Poster, 1914-1989 entitled, "The Crowd in Cinema: Fragments Towards a History", and written an essay for the Crowds anthology, "Far Above the Madding Crowd: On the Spatial Logic of Mass Representation" that was published in 2006 by Stanford University Press. Andrew’s current interests lie in the role of photomechanical documentation in the arts of the late 1960s and 70s, and the ways in which it helped to reframe ideas of aesthetic production, spectatorship, and objecthood in the contemporary period. He recently finished teaching a graduate seminar on the moving image
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