Gloria Sutton
Since the beginning
Works in Brookline, Massachusetts United States of America

BIO
Gloria Sutton is Assistant Professor of Contemporary Art History and New Media at Northeastern University in Boston
Discussions (6) Opportunities (0) Events (1) Jobs (1)
JOB

tenure-on-entry associate professor or tenure-track assistant professor positions in media arts and digital visualization.


Deadline:
Tue Oct 15, 2013 00:00

Location:
Boston, Massachusetts
United States of America

The Department of Art + Design in the College of Arts, Media and Design invites applications and nominations for a cluster of tenure-on-entry associate professor or tenure-track assistant professor positions in media arts and digital visualization. We seek candidates with a national or international record of excellence in the creative practice, innovative research, substantive scholarship and effective teaching in one or more of, and not limited to, the following interdisciplinary areas: media arts; information design; “big data” and data visualization; graphic or visual design; animation and motion graphics; and interactive media. Candidates should have a strong interest in collaborative work in these dynamic and burgeoning fields of practice, and could be considered for joint positions with other academic disciplines within the College and the University.

Context
This new cluster of faculty will help lead our newly created MFA in Information Design and Visualization and the MFA in interdisciplinary art. These degrees are built upon a well-established undergraduate studio and digital arts program with an emphasis on bringing innovative interactive art and design into the public sphere. We also offer a BFA and MFA in Studio Arts with the School of the Museum of Fine Arts in Boston.

The Department of Art + Design has three distinct advantages. One, the faculty conducts courses of study in a strong diversity of practices: studio art and art history; graphic, information, interaction and experience design; digital arts, animation, photography, film, video, and interactive media. Two, we are located within a major private global research university and a leader in worldwide experiential learning, urban engagement and interdisciplinary research. Also, the College has a unique combination of disciplines, including Architecture, Art + Design, Game Design, Communication Studies, Journalism, Media and Screen Studies, Music, and Theatre. Three, we are in Boston, a thriving urban center of culture and innovation with extensive global connections. See: www.northeastern.edu/camd

Qualifications
Candidates must have an MFA, PhD, or equivalent terminal degree in visual, graphic or information design, animation, interactive media, and digital arts, or closely related fields. Candidates are expected to teach at the graduate and undergraduate levels, and must have a well-developed research agenda that will inform and advance current trends in the field through creative production, experimentation, collaboration, exhibition and publication. Evidence of a high level of skill and accomplishment across media, provocative meaning making, and a sophisticated aesthetic sensibility is expected.

Applications
All applications must be submitted electronically at http://www.northeastern.edu/camd/about/careers/. Candidates must include a letter of application describing research, teaching, and relevant professional experience, a curriculum vitae and evidence of teaching excellence. Candidates should also provide the contact information of three references. Letters of recommendation and portfolios of creative work or research should not be submitted, but they may be requested later during the search process. Applications received on or before October 15, 2013 will be guaranteed full review. The start date for the position is the fall 2014 semester. Inquiries may be directed to Professor Ed Andrews, chair of the search committee, at e.andrews@neu.edu.


EVENT

Cuban Virtualities: New Media Art from the Island


Dates:
Thu Sep 05, 2013 00:00 - Sun Dec 08, 2013

Location:
Medford, Massachusetts
United States of America


Works by Mauricio Abad, Alexander Arrechea, Celia y Yunior, Núria Güell, Jairo Gutierrez, Ernesto Leal, Glenda Léon, Levi Orta, Rodolfo Peraza, Naivy Pérez, Susana Pilar Delahante Matienzo, and José Rolando Rivera examine the unique applications of digital technologies in Cuban art through video installations, net art, performance documentation, and interactive media.

Cuban Virtualities is co-curated by Liz Munsell and Rewell Altunaga and is the first exhibition of Cuban new media art held outside of Cuba.


DISCUSSION

Virtualia: Where Curiosity Cabinets, Dioramas, and Augmented Realities Meet


If you happen to be in Paris between now and the end of June, make sure not to miss the exhibition Virtualia: Fééries Numeriques, an unusual event featuring works by Jean-Paul Favand, collector, artist, "natural magician," and the founder of the Musée des Arts Forains (Museum of Fairground Arts, Paris - Bercy). For years, Favand has been designing extraordinary exhibits for his huge museum. Using original objects from his collection as backdrops and projection surfaces, he has been turning then into magnificent animated spectacles by means of digital projections, or "video mapping."

With his team of technical experts, Favand has created an outstanding mastery in this emerging field. However, there has been a problem: Musée des Art Forains is a private museum. Although it is open for banquets and organized events all year around, the general public is only able to visit it a few times a year on special occasions. It is therefore not so easy to experience its sumptuous displays that combine traditional fairgrounds and digital magic in the spirit of the Cabinets Fantastiques of the past.

For the first time, Favand has brought his imagination out of the museum, displaying his creations at the Centre des arts d'Enghien-les-Bains near Paris (a 15-minute train ride from Gare du Nord). What one experiences at Enghien-les-Bains, an idyllic lakeside resort town that seems very far from the French capital, is a series of curious and inspiring works one is tempted to call media archaeological. Although they use ideas of Favand's museum displays and exhibits, that are also entirely new.

At first look the exhibition seems eclectic, but one soon discovers the common spirit behind everything. There are found objects like a Japanese doll, unusual pieces of wood, and a Chinese stone slab inserted in a wooden frame, all animated by projections. There are also two unique diorama canvases from Favand's collection. They were originally displayed by a nineteenth-century touring show named Théatre Mécanique Morieux de Paris. Its remains were discovered some years ago and bought by Favand. A once so popular but lost medium re-emerges at Enghien-les-Bains, restored by Favand's team of experts. Already experiencing the dioramas and their effects is worth the visit.

But there is more: the exhibition also includes a mechanical spectacle named La Fete du Soleil (the Festival of the Sun), also from the repertory of the Théatre Morieux. Ingenious mechanical marionettes traverse the scene, brought to life by digital projections. It is not possible to discuss all the exhibits here, but I would like finish be mentioning a favorite of mine, an interactive display that allows the visitor to manipulate a digital 3D simulation of a seemingly ordinary stone, much like the stones that form the pavements of Village de Bercy, a popular destination in the heart of Paris. No-one seems to pay any attention to them, except Favand.

This exhibit takes us to the heart of Favand's art: whether it uses antique objects, found pieces of naturalia, or digital and interactive displays, it constitutes an extended act of looking. Favand persuades the spectator to stop and wonder. He seems to say: there is nothing prosaic or boring; everything is saturated with meanings and experiences; the task is to stop, pay attention, and wonder. Virtualia does exactly that. Its exhibits are not as spectacular as the ones at his museum (the exhibition hall at Enghien-les-Bains is rather limited), but the spirit animating them is the same. Go and see yourself!

Written by Erkki Huhtamo

For more, see the website http://www.cda95.fr/fr/content/virtualia. The exhibition is open until June 30, 2013. See also: www.arts-forains.com and www.pavillons-de-bercy.com"> www.pavillons-de-bercy.com>

DISCUSSION

The Ultimate 19th Century multimedia experience: The moving panorama


Erkki Huhtamo just published Illusions in Motion (MIT Press, 2013), a well-designed and captivating history of
the moving panorama. Erkki's been researching this topic for the past ten years and the resulting volume is packed with
incredible details and connections between the Victorian era stereoscope craze, 19th century "Panoramania" and more contemporary forms of media spectacle culture.
image
http://mitpress.mit.edu/books/illusions-motion

Erkki recently posted a short Q&A in which he talks about the start of this project -- how his initial skepticism about 1990s virtual reality hoopla led him to think about these earlier phenomena.

http://mitpress.mit.edu/blog/qa-erkki-huhtamo

DISCUSSION

part 1 of 2


Rhizome and lists devoted to new media curating such as CRUMB have
recently
spurred heated discussions about the practical and theoretical issues of
exhibiting new media art within a traditional museum context. As I sat
eavesdropping on these some of these debates, it became clear to me how
much
of the critical syntax around exhibition display strategies and audience
interaction echoed the conversations of the late 1960s and early 1970s.

And more striking to me was the fact that at an earlier moment
discussions
about contemporary art and new media used to take place in the same
conversation, be written about in the same publications and show in the
same
venues. In the 1960s-1970s artists interested in issues of media,
computation, social networks, and communication theories used to be in
active dialogue with their contemporaries probing other issues under the
general guise of "conceptual art." There was a moment when Stan
Vanderbeek
would be exhibiting with Robert Whitman and Dan Graham (The Projected
Image
show at ICA Boston, 1967) or Les Levine could be in the same show as
Hans
Haacke, Douglas Huebler, and Lawrence Wiener (Software, 1970).

Of course back then the issue wasn