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Beall Center for Art + Technology at UC Irvine

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Beall Center for Art + Technology at UC Irvine

Our Mission is to support research and exhibitions that explore new relationships between the arts, and Joan F. ADMISSION IS FREE.

The Beall Center aspires to redefine the museum/gallery experience, both in content and form, formulating answers to the questions of how technology can be used effectively, not only to create new forms of art, but also to connect artist to artist, and artist with audience. Don Beall became Chairman of the Board of Rockwell Corporation in 1988. Don is an influential business leader, and he and his

wife Joan have been advocates, leaders and supporters of the arts in Southern California for many years. Upon his retirement, the Rockwell Corporation was in search of an opportunity to honor the Bealls' contributions to Rockwell and to Southern California. The School of the Arts at the University of California, Irvine proposed the funding of a new facility, the Donald R. Beall Center for Art and Technology, an endeavor which addressed three principal aspects of his career and their enjoyment of life: business, engineering, and the arts. The Beall Center received its initial support from the Rockwell Corporation in honor of retired chairman Don Beall and his wife, Joan. Today major support is generously provided by the Beall Family Foundation. For more information on how you might support the Beall Center, please contact the Beall at (949)824-6206. Paid parking is available in the Mesa Structure (4000 Mesa Rd., Irvine, CA 92697) or the Student Center Structure (311 W Peltason Dr, Irvine, CA 92697)

06/18/2026

Smooth Brain No Winkles is a modular video installation that immerses viewers in the overwhelming flood of online content that shapes our daily lives. Dozens of looping videos play simultaneously across a deliberately chaotic pile of mismatched screens, including old phones, CRT televisions, tablets, and flatscreens. The work draws its title from an internet meme about blissful unawareness, and takes “”brain rot””—the absurdist, viral humor that dominates platforms like TikTok—as its central subject. A main video zooms restlessly between clips, mimicking the fragmented, hyper-accelerated way we consume media. The installation asks an existential question: If we can no longer distinguish between what we choose and what the algorithm chooses for us, what does that mean for our beliefs, our bodies, and our sense of reality?

Casey Kauffmann. Smooth Brain No Winkles, 2025. Multi-channel video installation; sound. Courtesy of the artist.

Photos by Yubo D**g.

06/12/2026

For ORDER OF MAGNITUDE, the artist viewed recorded public statements by Mark Zuckerberg and edited a supercut built from three of his most recurring elements: the words “”more,”” “”grow,”” and his repeated use of numerical metrics such as “”two million”” or “”one billion.”” The result is a nearly fifty-minute film that functions as a lens into the priorities and mindset of the tech CEO: what he cares about, how he thinks, and what he hopes to attain.

Ben Grosser, ORDER OF MAGNITUDE, 2019. HD video supercut with stereo audio 47:15 minutes. Courtesy of the artist.

Photos by Yubo D**g.

06/04/2026

This variation of the FOREVER MEETINGS series is a diptych featuring two avatars discussing a single question. In this case: Is Al worth it? The dialogue is not fixed. Instead, it is generated from a system that combines 12 distinct conversation styles with 36 persona-pairs of contrasting perspectives on Artificial Intelligence.

Some of the persona pairs are: Creative Collaborator-who sees Al as a tool that can expand artistic practice-versus Creative Purist, who believes Al diminishes human imagination, devalues lived experience, and flattens culture. Community Technologist-who envisions Al as a support for collective, decentralized systems-versus Power Critic, who posits that Al inevitably concentrates power and reinforces inequality because computation itself scales unevenly and reinforces hierarchy.
Assistive-Only Advocate-who believes Al is good, overall, but only for very specific assistive uses versus Zero-Use Absolutist, who believes Al should not be used at all under any circumstances.The persona pairs and conversation styles aren’t generic arguments, they reflect a set of concerns and questions selected by the artist that are especially urgent in the present moment.

Notably, the identities of the speakers and the style of conversation are not revealed on screen. Visitors encounter only the unfolding text of the exchange. As a result, the work encourages close reading: rather than identifying with a labeled position, viewers are asked to interpret, question, and evaluate each voice on its own terms as the dialogue develops.

Sarah Rothberg
FOREVER MEETINGS: SCRAMBLED ZONE, 2025
Custom software (black and white, sound), computer, projector
Courtesy of the artist and bitforms gallery

Sarah Rothberg
FOREVER MEETINGS: STRANGE ALIGNMENTS, 2025
Custom software (color, sound), tv monitors
Courtesy of the artist and bitforms gallery

Photos by Yubo D**g

05/27/2026

FAKE IT TILL YOU MAKE IT is a generative, JavaScript-based work that borrows from the bubbly language and pastel aesthetics of text-driven lnstagram graphics to scrutinize the promotion of wellness, self-care, and confidence on social media. The work derives from an algorithm, custom-written by the artist, to collage together text manually sourced from existing graphics on lnstagram. The generated output mimics the original graphics’ cheerful tone and design with language that often veers into absurdity.

Maya Man, “FAKE IT TILL YOU MAKE IT”, 2022. Generative, JavaScript-based video projection. Courtesy of the artist.

Photos by Yubo D**g.

05/21/2026

“Generative Persuasion” is an interactive installation that invites viewers to generate tailored propaganda and conspiracy theories on a military-style portable computing center using advanced artificial intelligence and personality-based microtargeting. Under the guise of a fictitious startup named Psybernetica, the generative persuasion application uses a Large Language Model (LLM) that has been conditioned and pre-prompted to generate polarizing and misleading content based on the characteristics a user chooses to target.

The program is capable of producing social media posts, political advertisements, and conspiracy theories that target people based on the five-factor model of personality and whether the target is liberal or conservative. The project reveals how effective LLMs are at generating inauthentic content designed to influence politics or polarize the public.

Jennifer Gradecki and Derek Curry, “”Generative Persuasion””, 2024-ongoing. Interactive installation; computer, monitors, LED signage, vinyl. Courtesy of the artists. Commissioned for the Getty PST: Art & Science Collide program with the generous support of The Loft at Liz’s.

Photos by Yubo D**g.

04/28/2026

Join us for a talk by artists Jennifer Gradecki and Derek Curry on Monday, May 4th 10:30 a.m. to noon at Engineering Hall (EH) 2430 and Zoom (link in bio).

“Technology as a Formal Medium: What Artists Bring to AI Research”

Derek Curry and Jennifer Gradecki are artists who approach technology as a formal medium, spending time experimenting with it: learning what it does, what it resists, and what it makes possible, before reflecting on what it signifies socially or politically. Their practice involves reverse-engineering technological artifacts in order to understand them on their own terms—a disposition drawn from their artistic backgrounds. In this presentation, they will discuss several of their research-based projects, each modeling a different way artists can engage with AI and computational systems. Curry and Gradecki will reflect on what artists can bring to AI research: as collaborators in critical design, as builders of public-facing apparatuses, and as practitioners of an open-ended mode of inquiry that doesn’t require fixed deliverables to be productive.

This event is organized by the Institute for Engineering AI for Society (Proper AI) Seminar Series in collaboration with the Beall Center for Art + Technology.

Image: Jenniver Gradecki and Derek Curry, Generative Persuasion (2024-ongoing), Interactive installation; computer, monitors, LED signage, vinyl. Courtesy of the artists. Commissioned for the Getty PST: Art & Science Collide program with the generous support of The Loft at Liz’s. Photo by Yubo D**g.

ArtAndTech

04/01/2026

“Disruptive Cultures: Affect and Effects of Social Media” explores how social media can provoke strong emotional reactions in users and has significant cultural and social implications. The exhibition features artists who reflect on, question, critique, and utilize the power of social media. Many of these artists take advantage of key characteristics of social media, such as interface design and AI algorithms, to enhance engagement and evoke emotional responses from viewers.

The exhibition opening (2:00pm-5:00pm) will be accompanied by a symposium (10:30am-12:00pm) featuring participating artists, along with discussants from diverse fields including engineering and the philosophy of science. The symposium offers insight into the artists’ interests and working processes, while also addressing the broader impacts and consequences raised by the exhibition’s themes.

A.I. Symposium - April 4, 2026 10:30am-12:00pm
CAC Colloquium Room 3201
Moderated by David Familian, Artistic Director and Curator
Chaired by Zebulon Zang, Assistant Curator

Sarah Rothberg, FOREVER MEETINGS: SCRAMBLED ZONE, 2025; Custom software (black and white,, sound), computer, projector or screen. Dimensions variable, landscape orientation. Courtesy of the artist and bitforms gallery.

02/26/2026

In Cave, infrared images of the spiral galaxy NGC 5068 and rendered onto a convex vault of printed tissue hung like a geological ceiling over a reflective tray of water. Hill’s work imagines the cosmos as an immersive experience, standing against the idea of a far off removed outer space. The water serves as a mirror, not only reflecting the rocky starry overhang above, but also creating an intimate, interior form of outer space.

Julie F. Hill, “Cave”, 2023. Soy ink print on tissue, powder-coated stainless steel, water, steel. 16 x 13 feet.
Courtesy of the artist.

Photos by Yubo D**g.

01/24/2026

Zúñiga’s “Photosphere” is a geometric constellation of light, structure, and reflective materials situated mid-air, oriented towards a crystal center. In the center, the fabricated mica diamond both receives and reflects light, acting as a multidimensional portal. This piece mirrors the photonic nature of space as an endless array of light and shadow, actively working against gravitational rules and time.

Marcus Zúñiga, “Photosphere”, 2025. Light, mica, acrylic on ponderosa. 48 x 46 x 46 inches. Courtesy of the artist.

Photos by Yubo D**g.

01/20/2026

Alice Wang’s “Untitled” consists of five black earthenware pillars in a randomized cluster. Coated in charcoal and graphite, the ceramic columns absorb almost all light directed at them, giving them a seemingly endless sense of depth. They produce an optical effect of smooth rectangular negative space from afar. However, as you move near them, their ripples and edges are apparent, and show evidence of Wang’s production by hand. The hexagon motif appears throughout organic life and inorganic matter, such as the honeycomb, the carbon ring, and basalt column formations across Earth; a representation of a cosmic and mysterious rift to somewhere outside of this world.

Alice Wang, “Untitled”, 2024. Earthenware. 64 x 25 x 22 inches each. Courtesy of the artist.

Photos by Yubo D**g.

Address

712 Arts Plaza, UC Irvine Campus
Irvine, CA
92697

Opening Hours

Tuesday	12pm - 6pm
Wednesday	12pm - 6pm
Thursday	12pm - 6pm
Friday	12pm - 6pm
Saturday	12pm - 6pm

Telephone

+19498246206

Website

http://beallcenter.uci.edu/

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