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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. Sign up for Office Hours 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. 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 has accepted invitations to speak at symposia devoted to modern and contemporary art, film studies, visual culture and continental philosophy in Venice, Edinburgh, London, Florence, Vancouver and across the United States. His 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 essays on modern and contemporary art have been published in numerous journals and anthologies in the US, England, Italy, Spain, and Brazil, and have been translated into Spanish, Portugese and Basque. Recent publications include "Beyond the Black Box: The Lettrist Cinema of Disjunction" for the MIT Press journal October; "From Pictoral College to Interdisciplinary Assemblage: Variations V and the Cagean Origins of VanDerBeek's Expanded Cinema" for Animation: An Interdisciplinary Journal (Sage); and "The Philosophical Toy as Model: Duchamp, Breer, and the Postwar Emergence of Cinema in the Gallery Space" for the Spanish film journal Sequencias (Universidad de Madrid). His "Windows on the White Cube" was recently published in the anthology Screen/Space: The Projected Image in Contemporary Art (Manchester); "Siting Cinema" appeared in the anthology Art and the Moving Image: A Critical Reader (Tate and Afterall); and "From Expanded Cinema to Contemporary Installation" was anthologized in The Cinematic Experience: Film, Contemporary Art, Museum (Il Castoro). "La Jetée en spirale: Robert Smithson's Stratigraphic Cinema" was published in the MIT Press journal Grey Room; "An Impossible Situation: Spectatorship between the Black Box and the White Cube" was commissioned for Spanish artist Olga Adalentado's book project Six Impossible things before breakfast (Centro Montehermoso); and "A Labyrinth in Space and Time: Coulibeuf's Dédale and the Architecture of the Moving Image" appeared in the catalog Pierre Coulibeuf: Dédale (Ibère Camargo). His monographic study, Between the Black and the White Cube: Situating Expanded Cinema in Postwar Art, is under contract with the University of Chicago Press. While his primary focus is on postwar and contemporary art, an interest in the role of film and photography within the historic avant-gardes, as well as an interest in the potential of digital platforms for humanities scholarship, led to a multiyear collaboration with the Stanford Humanities Laboratory's “Crowds” project. He produced a multimedia gallery entitled, "The Crowd in Cinema: Fragments Towards a History" as part of the travelling exhibition Revolutionary Tides, and contributed an essay entitled "Far Above the Madding Crowd: On the Spatial Logic of Mass Representation" for the anthology Crowds (Stanford University Press.) More recently, the centennial of Italian Futurism prompted an essay entitled, "Chronophotography and Cinematography to Photodynamism and Chromatic Music: Bergson’s Critique of Photography and the Futurist Birth of the Cinematic Avant-Garde" that was published within the SUNY journal Forum Italicum. Andrew is affiliated with Stony Brook's Consortium for Digital Arts, Culture and Technology (cDACT), and serves as an academic advisor for the MA and Graduate Certificate Programs in Philosophy and the Arts, as well as the MA and PhD Programs in Comparative Literature and Cultural Studies. Collaboration with Stony Brook's program in electroacoustic composition, together with a growing interest in the role of sound-based practices in late modern and contemporary art, recently led him to co-edit "Sonic Arts and Audio Cultures," a special issue of the Journal of Visual Culture (Sage) bringing together leading writers on contemporary sound art, from Christophe Cox and David Toop to Brandon LaBelle and Douglas Kahn. Within the program in Art History & Criticism, Andrew regularly conducts graduate seminars on the moving image in contemporary art; site-specificity, installation and environment; minimalism across the arts; and critical methodologies in art history and visual culture, and advises MA and PhD theses on a range of modern and contemporary topics.
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