Associate Professor – Art History, Visual Studies
Gloria Sutton is an Assistant Professor of Contemporary Art History and New Media at Northeastern University and author of The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema, published by MIT Press. A research affiliate in the Art Culture Technology Program at MIT, her scholarship is invested in the ways durational media have altered the reception of visual art in the post 1968 period. She received her doctorate from the University of California Los Angeles and has been a fellow at both the Whitney Museum Independent Study Program and the Getty Research Institute. She is additionally the inaugural editor of Art Journal Open.
Her scholarship on time-based media practices and a critical history of technological experiments within visual art also appears in Mainframe Experimentalism: Early Digital Computing and the Experimental Arts (University of California Press, 2012), and Future Cinema: The Cinematic Imaginary after Film (MIT Press, 2003). She recently edited the first volume on the photographic and sculptural work of Sara VanDerBeek, published by Hatje Cantz in spring 2016.
In addition to contributing to the journals Afterimage, Art Bulletin, Art in America, and Rhizome.org, Sutton has published numerous exhibition catalogue essays on key figures in contemporary art including Rosa Barba (MIT List Visual Arts Center), Kirsten Everberg (Pomona College Museum of Art), Renée Green (Musée Cantonal des Beaux-Arts, Lausanne), Karl Haendel (Museum of Contemporary Art Los Angeles), Carsten Höller (New Museum), Yayoi Kusama (Hirshhorn Museum), Laura Owens (Kunsthalle Zurich), Pipilotti Rist (New Museum), and Kerry Tribe (American Academy Berlin), as well as contributing to Ice Cream: Contemporary Art in Culture and Vitamin Ph, New Perspectives in Photography (Phaidon).
Sutton has also curated exhibitions at the Museum of Contemporary Art and the MAK Center for Art and Architecture in Los Angeles. She lectures widely on contemporary art, including recent engagements at the University of Chicago, the Critical Dialogue series at the Tyler School of Art in Philadelphia, Institute of Contemporary Art Boston, the New Museum in New York, Contemporary Art Museum Houston, Carpenter Center for Visual Art at Harvard University, 356 S. Mission and the Hammer Museum in Los Angeles, San Francisco Museum of Modern Art, and Institut National d’Histoire de l’Art (INHA) in Paris.
Her current book project, provisionally titled, Pattern Recognition: Conditions of Contemporary Art, asks what happens when the processes of standardization, modularization and the clustering effects of digital culture, which have come to condition viewers’ expectations for time-based media art, are not considered as neutral technologies, but as powerful social markers. Organized as a series of critical case studies, this book is intended as an antidote to the term “post-Internet” condition that has problematically come to define visual art since 1990. Providing a critical analysis of the rise of network culture within visual art, each chapter is organized around the work of a single artist whose own practice contends with the transmission of ideas, power, and history through a focus on duration.