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Beall Center for Art + Technology at UC Irvine

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Beall Center for Art + Technology at UC Irvine

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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)

09/24/2026

🗓 SAVE THE DATE: "Ecotechnics" opens October 10!

Ecotechnics brings together 11 contemporary artists whose work explores the technologies, histories, images, and fictions through which we come to understand environments and organisms. The exhibition asks how we, as technical beings, sense and represent the living world.

Join us for the opening reception on Saturday, October 10, from 2–5 p.m. at the Beall Center for Art + Technology.

📅 October 10, 2026–February 6, 2027
📍 Beall Center for Art + Technology, UC Irvine
🎟️ Free and open to the public; RSVP link in bio

Image: Jeffrey Stuker, "Mantis Te Vidit", 2026; 70mm film slide presentation. Courtesy of the artist.

06/26/2026

Voice in My Head engages audiences in a direct, embodied encounter with an AI-generated voice. Using humor and interactivity, the work invites participants to reflect on their own relationship to synthetic communication and to form their own positions on the cultural, ethical, and social dimensions of AI. The project situates the AI inner monologue within broader histories of mediated communication—from telephone operators to contemporary call center infrastructures—framing voice not simply as a personal assistant, but as part of a larger system of social and technological power.

Kyle McDonald and Lauren Lee McCarthy. Voice in My Head, 2023. Interactive installation; MP4 video with sound, software, performance. Courtesy of the artists.

Photos by Yubo D**g.

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

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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