Gloria Sutton is Associate Professor of Contemporary Art History and New Media at Northeastern University. Her scholarship analyzes the ways durational media have shaped the reception of visual art since the 1960s. She received her doctorate from the University of California Los Angeles and has been a fellow at the Getty Research Institute.
Professor Sutton is the author of The Experience Machine: Stan VanDerBeek’s Movie Drome and Expanded Cinema published by MIT Press and reviewed in the journals Art History, Leonardo Reviews, and Cineaste Journal: Art and Politics of the Cinema. She edited the first volume on the photographic and sculptural work of Sara VanDerBeek (Hatje Cantz, 2016). Among other journals, her scholarship has appeared in Afterimage, Art Bulletin, Art in America, Rhizome, and Voices of Contemporary Art. Professor Sutton has contributed to numerous international exhibition catalogs and artist monographic including recent essays on Bruce Nauman’s Spatio-Temporal Installation (Bruce Nauman: A Contemporary, Schaulager, 2018); the problematics of Post Internet Art (Art in the Age of the Internet, Yale University Press, 2018); the digital conditions of Yayoi Kusama’s Mirror Infinity Rooms (Prestel, 2017); The video “errors” of Pipilotti Rist (Phaidon, 2016) and the organizing principles of Rosa Barba’s film installations (MIT List Center for Visual Arts, 2016). She lectures widely on contemporary art including recent engagements at SFMoMA, Walker Art Center, Wexner Center for the Arts, Temple University, the Hammer Museum, University of Houston, York University in Toronto and Institut National d’Histoire de l’Art (INHA) in Paris.
Sutton is currently at work on the book, Pattern Recognition: Durational Conditions of Contemporary Art, which provides a critical analysis of the rise of network culture within visual art. During the 2017-2018 academic year Professor Sutton is scholar in residence at the Carpenter Center for Visual Art.