Below is a complete list of research grants awarded for Pacific Standard Time 2024, a collaboration of exhibitions and programs throughout Southern California supported by the Getty Foundation.

Academy Museum of Motion Pictures
For two exhibitions

Color in Motion: Experimental Technologies and Cinema

From tinted and toned silent films to modern Computer-Generated Imagery (CGI), color has played an essential role in creating cinematic landscapes and stories. Color in Motion will investigate the science, technology, and psychology behind filmmakers' experiments with color, focusing on two key moments of color innovation: the Silent Era and the late 20th and early 21st centuries. Researchers will draw on recent insights from psychology, neurobiology, and optical engineering to explore how filmgoers perceive color. Color in Motion will also explore the underrecognized contributions of women as technicians and the development of early industrial color processes, some familiar and some now lost to history. An experiential, multi-screen "kaleidoscope" planned for the exhibition will present historical film clips calibrated to their original colors by a team of preservation specialists and juxtapose them with monochrome imagery from contemporary films such as The Grand Budapest Hotel (2014) and Moonlight (2016), while a second gallery will examine the history of these colors and the technologies that enabled their creation on screen.

The Rise of Cyberpunk and Digital Dystopias

Cyberpunk, a science fiction subgenre that emerged from the New Wave science fiction literature movement of the 1960s and 1970s, was inspired by a growing fascination with the science of human-computer interaction. Juxtaposing scientific advances in automation, computing, and robotics with social disorder, Cyberpunk celebrated the "hacker culture" mentality of challenging and defeating machines. In the 1980s and 1990s, landmark films such as Blade Runner (USA, 1982), Akira (Japan, 1988), and The Matrix (USA, 1999) gave a visual landscape to Cyberpunk's dystopian themes of social alienation, totalitarianism, and urban decay. Through storyboards, costumes, and immersive digital components, The Rise of Cyberpunk will document Cyberpunk's history and lasting influence on international film, from the 1980s to the present day, and examine the movement's connections to technological developments of the era. The exhibition will challenge widely held perceptions of Cyberpunk as being predominantly a white, male, and heteronormative subgenre in the Western world by including contributions of women, LGBTQ+ communities, and filmmakers of color from Africa, Latin America, and Southeast Asia.

Exhibition research support: $200,000

Armory Center for the Arts
From the Ground Up: Nurturing Diversity in Hostile Environments

What happens when populations that depend on international supply chains for basic needs are systemically cut off from food production? What happens when power grids fail, and reservoirs dry up? For decades, artists, writers, and scientists have imagined the consequences of severe disruptions such as these to the economy and the environment. Taking inspiration from the seed, as one of the smallest but most powerful mechanisms for change, From the Ground Up will present contemporary art concerned with the preservation of ancient plant knowledge, modern botanical science, and related sociopolitical issues. The exhibition will look at the ways art and science can work together to encourage sustainable food and shelter using traditional environmental management techniques that stand in contrast to the industrialized processes that dominate corporate farming. Areas of research will include how the history of agriculture in the American West has always benefited from the knowledge of Indigenous peoples and diverse immigrant farmworker communities.

Exhibition research support: $100,000

ArtCenter College of Design
Seeing the Unseeable: Intersections in Data, Science, Art, and Design

We live in the age of Big Data: extremely large data sets collected from multiple sources by scientists, businesses, nonprofit organizations, government agencies, and others. Data visualization—the practice of representing data—is one of the primary tools used to make these massive amounts of data understandable, transforming them into knowledge. Within the sciences, data visualization conveys information in a compelling manner; in art, it transforms information into a canvas for creative expression. Over the past 20 years, artists and designers have incorporated data visualization into their work, both as a way of critiquing it and as a new form of storytelling. Seeing the Unseeable will explore how art, science, and design have become integrated in the work of both scientists and contemporary artists.

Exhibition research support: $110,000

Autry Museum of the American West
For two exhibitions

Indigenous Futures, or How to Survive and Thrive After the Apocalypse

Envisioning the cosmos has long played an important role in Native North American art. Beginning in the 1970s, artists and authors began looking to Western science fiction as a means of claiming outer space as sovereign territory, speaking back to racism, and imagining a self-determined future. Today, Indigenous Futurism is a robust and thriving artistic genre devoted to exploring Native peoples as techno-savvy commentators on the present and powerful agents in shaping the world of tomorrow. Through works of art that embrace the intermingling of science fiction and self-determination in Native culture today, Indigenous Futures will counter the historical myths perpetuated by films such as Star Wars and Avatar while assessing the very real impact of colonization, including environmental degradation and toxic stereotypes. Although artists like Virgil Ortiz and Andy Everson upend sci-fi narratives by indigenizing characters and story lines, others, such as Jolene Rickard, create dystopian artworks that highlight the apocalyptic landscapes of climate change and the suppression of traditional environmental knowledge. In these ways, Indigenous Futures will demonstrate how Native art and cultural knowledge can build a more inclusive present and sustainable future.

Out of Site: Survey Science and the Hidden West

Numerous exhibitions and scholarly studies have investigated the conjoined roles of visual art and survey science in recording, promoting, and celebrating western lands, but what of those forces that lie beneath the surface, are invisible to the unaided eye, or are deliberately hidden or obscured? How have technologies originally designed to render places visible—from mapping and glass plate photography to aerial imaging, drones, and satellites—become instruments of invisibility? And how have these information-gathering tools morphed into instruments of confusion that abstract western lands and sever them from the populations that depend on them? Out of Site will explore the origins and expansion of visual imaging technologies to reveal what we otherwise cannot see, from geologic processes churning over time to large-scale industrial interventions, military testing sites, and a growing network of surveillance and remote sensing technologies. Through a combination of survey-era photography, aerial imaging, and other more recent tools such as LIDAR systems, Out of Site seeks to revisit and revise our understanding of visual technologies as applied to remote western lands.

Exhibition research support: $175,000

Benton Museum of Art at Pomona College
Fred Eversley

Before becoming an artist, Fred Eversley was an aerospace engineer for high-energy acoustic and vibration testing laboratories across the United States, including NASA's human spaceflight programs. This work fed directly into his sustained artistic interest in the parabola—a shape that concentrates all forms of energy to a single point. His colorful cast resin artworks activate a range of sensory phenomena from optical to acoustic effects. This exhibition and catalog will feature new research into Eversley's singular practice at the intersection of aerospace design and postwar sculpture, in addition to investigations into the artist's role in expanding conceptions of "Black Art" in the late 1960s and early 1970s by focusing on abstract forms. The research will lead to a monographic survey highlighting the multiple aspects of Eversley's work including the lenses, mirrors, airfoil pieces, hanging laminated sculptures, and large-scale public pieces. While Eversley is often associated with West Coast Minimalism, Light and Space, or Finish Fetish sculpture, his scientific background and innovative approaches to artmaking remain understudied.

Exhibition research support: $120,000

The Broad
Joseph Beuys: 7000 Oaks

German artist and environmentalist Joseph Beuys's reforestation artwork 7000 Eichen (7000 Oaks) began in Kassel, Germany in 1982. The action, as Beuys called it, involved planting 7,000 trees in public spaces throughout the city over five years—each tree designated by a four-foot-high basalt stone marker. Since then, Beuys's vision has propagated to other cities around the world, with tree planting initiatives of more modest scopes extending the project. Now, The Broad—whose collection includes one of the world's most complete groupings of Beuys's multiples—will bring 7000 Oaks to Los Angeles, combining this ecological artwork with programs that address overlapping issues of environmental justice and political and ecological reconciliation and restoration. 7000 Oaks speaks to the worsening climate crisis, making the project timelier than ever. The museum will develop community partnerships to address the unique cultural, historical, and environmental context of Los Angeles.

Exhibition research support: $90,000

California African American Museum
World Without End: The George Washington Carver Project

George Washington Carver was a pioneer of plant-based engineering and one of the nation's earliest public proponents of sustainable agriculture. In the early 1900s, he built his "Jesup Wagon," a moveable school to share soil and plant samples, equipment, and other agricultural knowledge with farmers. Carver's then-radical ideas—including the importance of organic fertilizers, crop rotation, and plant-based medicines and construction materials—are now recognized as the forerunners of modern conservationism. A trained and practicing artist, Carver used sustainable materials such as peanut- and clay-derived dyes and paints in his many weavings and still-life paintings. World Without End will showcase Carver's rarely seen artworks alongside his laboratory equipment, paint samples, and formulas. The exhibition will also feature contemporary artists, scientists, and engineers working in dialogue with Carver and his interests in nature, biology, activism, and sustainability, including Los Angeles-based assemblage artist Judson Powell, whose research into Carver inspired the exhibition.

Exhibition research support: $120,000

California Institute of Technology
Virtual Witnessing: Seeing Caltech Science

Virtual Witnessing will consider the role of images in science, asking how and why different types of media have been used to illustrate natural phenomena and experiments, and what roles art and artists have played in scientific institutions. Far from depicting nature impartially, scientific images make arguments, persuading viewers of particular theories and interpretations. In fact, laboratories have become production centers of images, which have also become tools through which scientists themselves understand nature. Caltech, founded in the late 19th century, will serve as a case study for considering the use and evolution of scientific images over the 20th and 21st centuries, including graphic art, photography, and data visualization. The exhibition will draw on Caltech's archives and the records of NASA's Jet Propulsion Laboratory.

Exhibition research support: $83,000

California State University Dominguez Hills University Art Gallery
Brackish Water Los Angeles

Brackish waters are spaces of great change and possibility. Inspired by these sites where fresh and ocean waters intermix, Brackish Water Los Angeles will look at the unique environments formed by the collision of water courses to develop research that is deeply place centered, guided by the history and present ecology of water in the region. The exhibition will be housed at California State University Dominguez Hills in South Los Angeles, where infrastructure has transformed local rivers into concrete channels, and where industrial contamination and ecological racism have plagued the surrounding communities for generations. Research will begin by considering seminal artworks such as Helen and Newton Harrison's Lagoon Cycle (1972-1984) and Alison Saar's Sluefoot Slide (2015), and will uncover the complex ecosystems, infrastructures, and politics that both create and destroy brackish water habitats. Investigated through multiple lenses that include marine biology, hydroclimatology, and Indigenous understandings of these coastal waterways, Brackish Water Los Angeles will explore the paradox of the in-between, tracing the intricate ways ecology, culture, and community intersect.

Exhibition research support: $100,000

Center for Land Use Interpretation
Remote Sensing: Explorations into the Art of Detection

Since World War II, the booming Los Angeles aerospace industry has been a leader in the development of remote-sensing technologies, which gather information without physical contact between the observer and the observed. Highly detailed images can now be produced using aircraft, drones, and satellites. At the same time, Southern California companies have pioneered technologies for evading detection, such as stealth aircraft. Remote Sensing will investigate cultural and aesthetic responses to these technologies that have had outsized effects on daily life, global conflict, and civil liberties. The exhibition will trace the history of remote sensing in Southern California, not just in aerospace and the military but also in film, photography, and other visual arts fields. Works by contemporary artists and tours of regional research facilities such as testing ranges and electromagnetic proving grounds will explore the tensions between visibility and invisibility, privacy and security.

Exhibition research support: $70,000

Craft Contemporary
Nature Near: New Materials and Technology for Architecture and Design

Architects, designers, and scientists are looking to nature for sustainable design solutions that consume fewer materials, generate less pollution, and use less energy. Nature Near: New Materials and Technology for Architecture and Design will be the first exhibition to explore the most promising and pragmatic building materials and technologies at the intersection of nature, science, and craft. The title references architect Richard Neutra's posthumous book in which he advances his theory of "biorealism": the role of the biological and behavioral sciences in architecture, and architecture's essential relationship with the environment. Today this theory appears prescient with the emergence of biodesign. This field poses the possibility of constructing or even growing buildings with living and eco-friendly materials such as algae, microorganisms, and silkworms. At the same time, 3D printing, digital tools, and robotics are transforming the very concept of building, allowing us to reimagine the use of natural materials and to build with more precision and less waste. Nature Near will present these innovations through large-scale installations by artists, architects, and designers.

Exhibition research support: $73,000

Emergence: A Genealogy

In 2000, artist Eduardo Kac stunned the art world with his glowing GFP Bunny, a live rabbit bioengineered for Kac by French scientists using the green fluorescent protein (GFP) of a Pacific Northwest jellyfish. Emergence: A Genealogy will present a survey of bioart, which applies synthetic biology to design, sculpture, new media, performance, and social practice art. The exhibition will be presented at the Japanese American Cultural & Community Center and probe changing definitions of consciousness and what it means to be natural or synthetic, assembling now-iconic works from early practitioners of bioart and rarely seen documents, prototypes, and plans created by scientists at the forefront of the biotech revolution. Emergence will look back at key historical moments in the science of evolution—and the pseudosciences of phrenology and eugenics. Finally, it will bring these debates into the present (and future) by asking: Who in our society has the privilege of seeking immortality or genetic enhancement? And how will racial and gender inequalities in STEM fields affect not only the science performed today, but also the way scientists imagine the future?

Exhibition research support: $115,000

Fowler Museum at UCLA
Cultures of Corn: The Art and Science of Maize in Mexico and the American Southwest

Corn (Zea mays or maize) has occupied a central place in the life and art of Indigenous Americans from the ancient past to the present day. Humans developed a symbiotic relationship with maize, one richly documented in the aesthetic and cultural traditions of Mexico and the American Southwest. Cultures of Corn will examine how art has transmitted knowledge about the plant's properties and life cycle for over 8,000 years, from ancient Olmec carved jades to contemporary paintings, performances, and installations. The exhibition will explore the social, economic, artistic, and ritual ties between Mesoamerica and the American Southwest, integrating archaeological research and Indigenous perspectives alongside centuries-old sculptures and artifacts. It will consider the role of maize in ceremonial practices across the region and assess the impact of colonization and industrialization on Indigenous agriculture. Finally, the exhibition will look at the modern culture of corn in Southern California, where maize is often a homegrown food crop and an expression of identity, appearing in the work of artists such as Beatriz Cortez and Judy Baca.

Exhibition research support: $110,000

Fulcrum Arts
Energy Fields: Vibrations of the Pacific Edge.

The Pacific Rim is a hotbed of cultural, military, electromagnetic, and seismic activity. Energy Fields: Vibrations of the Pacific Edge will examine approaches to vibration, sound, and kinetic energy shared by artists and scientists working in the Pacific region from the 1960s to the present day. An interdisciplinary research team will investigate the ways sound and energy waves operate on the senses, and how these invisible forces have been represented by artists and scientists. Interactive sculptures, scientific instruments, and installations such as Macarena Rojas's Música es por Musa (2014) and David Haines and Joyce Hinterding's Telepathy (2008) will invite audiences to create sounds and vibrations; other artworks and apparatuses will explore non-audible bandwidths such as electromagnetic waves, infrasound (below human hearing), and ultrasound (above human hearing). Energy Fields will also highlight the contributions of Indigenous artists and traditional environmental knowledge across the four continents connected by the Pacific Ocean.

Exhibition research support: $100,000

Hammer Museum
Breath(e): Towards Climate and Social Justice

The lungs of our planet—oceans, atmosphere, and forests—are under threat, invaded by carbon emissions, plastics, and man-made pollutants. The act of breathing has been rendered even more perilous by the COVID-19 pandemic and police brutality. Breath(e): Towards Climate and Social Justice will consider the connections between climate change, environmental justice, and social justice through the lens of contemporary art. Breath(e) will bring together artists, activists, scientists, designers, and architects to address the effects of environmental and climate issues on communities, particularly those that are already subject to social, political, or economic discrimination. The exhibition also considers the ethical impact and proposed solutions of climate advocacy through collaborative strategies of intervention, public participation, and visual transformation of scientific data. The exhibition will be structured by key themes and modes of artistic production that will serve as referential criteria for artists: Eco-activism, Soundscapes, Lecture-Performances, Sustainable Design and Radical Architecture, New Imaging Technologies, Engineering Ecosystems, and Climate Justice.

Exhibition research support: $215,000

The Huntington Library, Art Museum, and Botanical Gardens
For three exhibitions

Seeing for Yourself: The Art and Science of Visualizing Hidden Worlds

At a time when the undeniable expansion of science and technology exists alongside a persistent skepticism in scientific ways of knowing, the careful communication of scientific information is of profound importance. Visual media are central to these efforts, which rely on close collaboration between scientists and artists, delving into long and diverse artistic traditions. Seeing for Yourself will investigate how artists and scientists have made hidden worlds not only visible, but legible and persuasive from the 16th century to today. This large-scale exhibition will draw on the incomparable works and expertise found across The Huntington's library, art, and botanical collection areas. It will consider the challenges of describing substances invisible to the human eye, such as the unseeable air made dramatically present in Joseph Wright of Derby's Two Boys by Candlelight, Blowing a Bladder, or the microscopic phenomena recorded in Robert Hooke's landmark 17th-century publication, Micrographia. To bring these challenges up to the present day, The Huntington will collaborate with graphic artists and scientists regarding the depiction of viruses, including SARS-CoV-2, or COVID-19. At the opposite end of the spectrum, texts by Galileo Galilei and photos by astronomer Edwin Hubble will illustrate the effects of great distance on perception. Work by contemporary artist Lia Halloran will illuminate the overlooked contributions of women in astronomy from antiquity to the present.

The Storm Cloud of the Nineteenth Century: Science, the Arts, and Experimental Social Thinking in Britain and America

Climate change may be one of the most pressing social and scientific issues of our time. A focused exhibition of works drawn from The Huntington's library and art collections, The Storm Cloud of the Nineteenth Century (a title borrowed from an 1884 lecture by John Ruskin) traces awareness of this issue in the English-speaking world back to the 19th century, when a diverse array of artists and writers began to register the impact of the Industrial Revolution on humans and the environment. Many of them naturalists themselves, these artists and writers used a mode of description derived from scientific inquiry—namely, the detailed observation of natural specimens such as rocks, trees, flowers, and animals. While based on scientific methods, their works were steeped in ethical or religious meaning and, in some cases, formed the basis for new ideas for living and a developing progressive activism. Curators will work with an interdisciplinary team, including art and literary historians, climate scientists, and activists, to develop the exhibition and related programs. Through an exploration of British and American works by the Romantics, the Pre-Raphaelites, members of the Arts and Crafts movement, Transcendentalists, and early 20th-century preservationists John Muir and Mary Austin, The Storm Cloud of the Nineteenth Century puts this urgent contemporary issue into a longer timeframe, positing the usefulness of thinking historically about problems more often focused on the present or future.

Seizing the Works of Heaven: Experimentation in the Gardens of China

The Huntington's spectacular Chinese Garden inspires Seizing the Works of Heaven, an exploration of the horticultural and experimental functions of historical gardens. Challenging the assumption that Chinese gardens served simply as spaces for pleasure and relaxation, the exhibition will emphasize their usefulness as producers of plants used for food, medicine, and study. Within these spaces, scholars of the Ming and Qing dynasties (1368-1911) pursued their aesthetic interests while observing—and experimenting with—trees and grasses to understand the patterns of the cosmos. Bringing together paintings, texts, and illustrated books, the exhibition will highlight key plants that link the horticultural histories of China and California, such as the camellia, the chrysanthemum, and the rose. Special displays of live plant material in the Chinese Garden, along with live demonstrations, will encourage visitors to embrace the practical, aesthetic, and experimental potential of their own gardens. An interdisciplinary advisory committee of scholars and artists will help shape the exhibition.

Exhibition research support: $275,000

Institute of Contemporary Art
Scientia Sexualis

Diverse scientific disciplines—reproductive medicine, genetics, endocrinology, anatomy, psychiatry—have long histories of studying sex/gender and sexuality, and are crucial to our contemporary understanding of them. Artists engage those histories by taking up sex and gender as sites of experimentation, knowledge production, medical management, and biological transformation. The exhibition title is drawn from Michel Foucault's landmark text, The History of Sexuality (1976). There, Foucault offered the term scientia sexualis to name the clinical pursuit of a "uniform truth of sex" through the study of the body, mind, and soul. Artists have produced a wide range of works that address difficult subjects within that history, such as the origins of modern gynecology in the torture of enslaved women, forced sterilization, the hystericization of the female body, and nonconsensual gendering of trans and intersex people. Artists explore these painful histories, but also redeploy scientific practice to produce technologies of transformation and generate practices of healing and repair.

Exhibition research support: $120,000

La Jolla Historical Society
Helen and Newton Harrison: California Work

The husband-and-wife team of Helen and Newton Harrison were among the earliest and most notable ecological artists. This exhibition will be the first to focus on the Harrisons' California work, nearly 20 projects produced between the late 1960s and 2000s. At a time when ecology was becoming a fashionable topic, the Harrisons pushed conceptual art in new directions, from their efforts to make topsoil—endangered in many places—to their transformation of a Pasadena debris basin into a recreational area. The couple, who met while working at the University of California San Diego, agreed that they would do no work that did not benefit the ecosystem. Helen and Newton Harrison: California Work will rediscover the Harrisons' breakthrough ecological concepts and techniques through re-staged performance artworks, drawings, paintings, photography, collages, maps, archival documentation of large-scale installations, and unrealized proposals for real-world ecological solutions.

Exhibition research support: $100,000

LACMA (Los Angeles County Museum of Art)
For three exhibitions


Cosmologies presents an ambitious exploration of attempts to explain the origins and mechanics of the universe across human history from the Neolithic Period to the present. Using images, objects, and built structures spanning the British Isles, Egypt, India, China, and Mesoamerica, the exhibition will examine the development and function of observational astronomy and the creation of conceptual matrixes for understanding time, space, and cosmic origins. Measurements of time were directly influenced by the appearance and movement (both real and apparent) of heavenly bodies, and every culture has perceived the heavens as a mirror of cosmic structure and process. LACMA curators will collaborate with scientists at Griffith Observatory and Carnegie Observatories to tell these histories. The exhibition will also include select works of contemporary art that pose questions that have preoccupied cosmologists and astronomers of the ancient past and the present alike: Where did we come from? What are matter and energy? Is there life elsewhere in the universe?

Beyond the Image: Materiality and the Genres of Mesoamerican Painting

Mesoamerican artists drew upon their mastery of science to create paintings for diverse, even supernatural, audiences. Beyond the Image will put painting practices from 2000 BCE to the 16th century across present-day Mexico and Central America literally under the microscope, including rare murals, polychrome ceramics, pre-Hispanic codices, and feather mosaics. Recent innovations in conservation science reveal how Indigenous artists applied complex technological processes to natural materials such as minerals, plants, and animals, transforming them into pigments. The exhibition will highlight the artist's role as a scientist who observes nature and understands its patterns, a technician who wields this understanding, and a maker whose works envision new worlds. Beyond the Image will use the tools of contemporary conservation science to understand the Mesoamerican artist as a "technician of creation," endowed with a creative power expressed through materials taken from the earth itself.

Better Living through Science: The Home of the Future, 1920–1984

During the 20th century, science and technology transformed the American home, leading to startling changes in its design, contents, and functionality. Better Living through Science will demonstrate how scientific innovations fundamentally altered the American way of life. "Display" houses from World's Fairs, department stores, corporate showrooms, and even Disneyland offered models of mass-produced, progressive design. While Americans embraced new appliances and materials (especially plastics) in their living spaces, the rise of the environmental movement in the late 1960s and the oil crisis of 1973 shook consumers' faith in technological progress and limitless resources. Counterculture experiments such as Drop City, with its solar panel domes to reduce carbon footprint, were part of a new pessimism about the price of unfettered scientific progress while also a clarion call for scientific solutions to environmental problems. The exhibition will conclude by tracing the emergence of the digital home, from Honeywell's Kitchen Computer of 1969 to the first Apple Mac computer in 1984, the same year the term "smart home" was coined.

Exhibition research support: $335,000

LACMA is developing a fourth PST exhibition that is not grant funded
Digital Manipulation in Design, Photography, and Visual Effects

The 1990 release of Adobe Photoshop 1.0 launched a radically new age in photography and design. The software transformed the very nature of image-making and engendered philosophical debates that continue today. This exhibition will examine how Photoshop and other tools of digital manipulation have altered the fields of photography, graphic design, and visual effects. Digital Manipulation will analyze how the innovations of scientists and engineers translated into creative production, and how earlier forms of artistic experimentation influenced the development of these tools. More than just a shift in practice, this rapid technological change has prompted novel theories of representation, knowledge, and cognition. The resulting ethical debates have transcended the art world, playing out in journalism, politics, advertising, social media, and even the judicial system. The exhibition will trace the impact of these softwares into the present, exploring current attitudes, from anxiety about intellectual property, the uncanny valley, and machine learning, to investments in world-building, artificial intelligence, and computer vision.

Laguna Art Museum
Particles and Waves: Southern California Abstraction and Modern Physics, 1945 to 1980

Particles and Waves will examine how concepts and technologies from subfields of modern physics impacted the development of abstract (or non-figurative) styles of artwork in postwar Southern California. Beginning in the 1920s and 1930s, scientists at institutions near Los Angeles including Mount Wilson Observatory, the California Institute for Technology, and the Jet Propulsion Laboratory in Pasadena generated groundbreaking experimental research in astronomy and particle physics. During and after World War II, the region remained at the forefront of scientific inquiry in theoretical physics and its applications within aerospace engineering, industrial manufacturing, and communications technologies. Between 1945 and 1980, many artists in Los Angeles produced non-figurative artworks while closely engaging with scientific ideas, mathematical theories, and materials or processes derived from physics and engineering. Particles and Waves unites several generations of artists working in diverse materials and styles to examine how scientific advances in modern physics inspired a range of abstract artworks by practitioners concerned with light, energy, motion, and time.

Exhibition research support: $100,000

Library Foundation of Los Angeles & LA Public Library
No Prior Art

As an official U.S. Patent and Trademark Resource Center, Los Angeles's Central Library is home to the most extensive patent and intellectual property collection on the West Coast. The drawings, miniature models, and diagrams submitted as part of patent applications are works of art in their own right. No Prior Art will showcase selections from this deep archive to explore the nature of creativity and innovation. The exhibition and program series will trace the many parallels between how artists and scientists seeking patents combine aesthetic appeal with methodical study and experimentation. It will highlight inventions that have advanced the arts, especially those with ties to Los Angeles, such as the unique printmaking process created by Mixografia studio that adds dimensionality and relief to a traditionally two-dimensional medium. It will also feature artists who have received patents for their work. Lastly, No Prior Art will consider artworks by Marc Fischer and other contemporary artists who respond to current intellectual property debates, and highlight inventors and innovations from under-recognized communities operating outside of the formalized legal process.

Exhibition research support: $90,000

Los Angeles Contemporary Exhibitions, Inc.
(Un)disciplinary Tactics

(Un)disciplinary Tactics will showcase the work of Beatriz da Costa alongside other artists in dialogue with her "tactical biopolitics," a collaborative practice spanning art, science, and non-academic forms of knowledge about the environment, medicine, and the body. Born in Germany, da Costa spent the last nine years of her life in Southern California, where she co-founded UC Irvine's interdisciplinary program Arts, Computation, Engineering (ACE) before her death in 2012. Her own fight with cancer inspired her Cost of Life series, which addressed the emotional, political, and economic costs of sustaining life. For another project, Pigeonblog, Da Costa worked with engineers, artists, and pigeon fanciers to fit homing pigeons with miniature GPS and pollution sensors. The collected information was presented on real-time maps of air quality data in Southern California areas. The grassroots scientific information generated by this human-animal-technology interface—made instantly accessible online—allowed local communities to understand the serious health implications of environmental contaminants. This collaborative DIY approach to art, technology, surveillance, and political activism was emblematic of da Costa's idea of tactical biopolitics.

Exhibition research support: $100,000

Los Angeles Filmforum
All Kinds of Experiments

From its invention, the motion picture camera was understood as a technology for "objective" observation. Just as researchers enthusiastically adopted cinematic techniques such as time lapse, fast and slow motion, and microscopic photography to capture everything from plant growth to medical procedures, artists have been equally fascinated by film's ability to record phenomena that the human eye cannot normally see. All Kinds of Experiments will examine how science, nature, and technology films shape our understanding of humans, nature, gender, knowledge, and "progress." These works will be placed in dialogue with experimental films that find alternative ways to investigate common assumptions of scientific depictions, and challenge presumptions of objectivity in the photographic images embedded in Western science films. Incorporating diverse scientific and experimental film traditions from across the globe, All Kinds of Experiments will investigate how the relationship between science and film enlivens both disciplines while also questioning the role that humans play in representations of scientific knowledge.

Exhibition research support: $85,000

Lucas Museum of Narrative Art
The Future in Our Past: Visualizing Human Evolution, 1850 to the Present

The study of human evolution has generated a flood of images, ranging from detailed renderings of scientific discoveries to imaginative depictions of the next phase of human existence. The Future in Our Past will explore the ways art and visual culture have shaped pervasive narratives about human evolution from the mid-19th century to the present. The project will look forward and backward in deep time, examining artistic interpretations of humanity's past and future. Highlighting collaborations between scientists and artists, it will also cast a light on the influence of evolutionary concepts across artistic and popular culture, from academic and avant-garde painting to comic books, pulp fiction, film, and television. Artistic speculation about our extinct ancestors and our future descendants has often reflected the social concerns or lived realities of historical moments. Certain representations of human evolution have perpetuated pernicious and stereotypical representations of race, gender, and physical ability. These narratives of human development, though flawed or biased, capture collective hopes, prejudices, and anxieties about who we are and where we are going as a species.

Exhibition research support: $100,000

Mingei International Museum
Blue Gold: The Art and Science of Indigo

Indigo—a varied plant family that grows worldwide and the deep, blue dye it produces—has a long and multifaceted history of cultivation, production, and distribution. Blue Gold will combine science, craft, and history to explore this color's complex past and present. Indigo's beauty and ubiquity have eclipsed the unpleasant realities of its growth and manufacture, including hard labor and pollution, and its association with colonialism and slavery. As a pigment, indigo has been assigned protective properties, healing powers, and dangerous qualities that have shaped its uses in craft and the arts. The exhibition will highlight the roles of botany, chemistry, medicine, ecology, and economics in indigo cultivation. Contemporary craftspeople and artists working with indigo, such as Lucille Junkere, will address questions about the sustainability of indigo, its problematic legacies, and technological alternatives to manual processing. As part of the project, conservators and scientists will study pieces from Mingei International Museum's collection containing indigo in order to develop new techniques for differentiating between natural and synthetic forms of the dye.

Exhibition research support: $100,000

The Mistake Room
Bodies, No Longer Ours

The field of Narrative Medicine encourages medical practitioners to improve care by considering the environmental, psychological, and emotional dimensions of disease. It uses literary art forms such as poetry and theater to train caregivers in gathering and analyzing patient stories. Bodies, No Longer Ours proposes that caregivers can and should analyze visual art using the same methods to better understand the cultural and psychological aspects of illness and healing. Featuring works in all media by more than a dozen international artists, the exhibition will challenge the divide between Western commercialized medicine and complementary and alternative care practices such as acupuncture, herbalism, and osteopathy, highlighting the profound relationships between individual and collective trauma and the chronic medical conditions that affect the physical well-being of both communities and individuals. In preparation for the exhibition, The Mistake Room will work with local medical professionals and hold a series of participatory workshops in the four Los Angeles neighborhoods most impacted by the COVID-19 epidemic, to explore alternative approaches to wellness.

Exhibition research support: $110,000

MOCA (Museum of Contemporary Art)
Olafur Eliasson

The interactive works of Danish Icelandic artist Olafur Eliasson encourage emotional and participatory responses to complex issues such as sustainability and climate change. Through his multidisciplinary and collaborative studio practice, the artist is known for combining simple natural elements such as light, water, and movement to engage and alter viewers' senses. MOCA's exhibition will feature key works by Eliasson from the past three decades, centered around a new commission: a large-scale installation responding to the climate crisis and designed for the industrial environs of the Geffen Contemporary. In addition to the highly interactive public viewing experience, an education lab created in collaboration with the Getty Conservation Institute will engage visitors in new scientific and technical research into Eliasson's work as a case study for the conservation of experiential art installations. Other outreach activities will focus on topics related to climate change, such as social justice, environmental policy, and community activism. In order to minimize the exhibition's carbon footprint, the project team will work together with an international advisory group of climate scientists and activists to explore more sustainable ways to manufacture, transport, and display the artworks.

Exhibition research support: $175,000

Museum of Contemporary Art San Diego
Medical Condition: Art, Illness, and the Body

Medical Condition will shed light on the pervasive role medical science plays in our daily lives and how it has transformed our understanding of human bodies. Presenting artwork from the 1970s to today, this exhibition will examine changes in the biomedical field and the ways artists have interpreted and responded to them. At once vulnerable and resilient, the body has become a medicalized object, one that is diagnosed, treated, probed, tested, and sometimes cured. This project will draw on local expertise in San Diego County, a hub for biomedical and health science research institutions as well as thriving biotech and pharmaceutical industries. Medical Condition will be the first large-scale exhibition to address the broad impacts of medical science, featuring artists engaged in activism around disability rights and communal caregiving and contending with the most urgent medical issues of our day, including genetic research, cancer therapies, and the recent COVID-19 pandemic.

Exhibition research support: $120,000

Museum of Jurassic Technology
Intimations of the Infinite: Islamic Geometries of Medieval Al-Andalus

The Al-Andalus region, linking North Africa and Europe, was a meeting place for people and ideas in the medieval period. Its architectural legacy is distinguished by ceilings, floors, and walls intricately patterned with complex geometries that unite mathematics and aesthetics. Imitations of the Infinite will use experiential environments to teach visitors about the artistic and intellectual underpinnings of Islamic architecture. This immersive exhibition is conceived as a site for programming related to Islamic art, geometry, and science, including a stereoscopic film on the history and architecture of Al-Andulus. The museum's galleries will be reimagined as installations of Islamic architectural forms, including muqarnas (plaster or ceramic honeycombed squinches, arches, vaults, and domes), a lacería ceiling made of intricate lattice wood, a wooden floor with an inlaid pattern, and stucco walls carved in geometric designs using a technique called vesaria. Visitors will learn about the four "geometric families" central to Islamic design and discover how these beautiful and complex patterns have been created for more than a thousand years.

Exhibition research support: $50,000

Natural History Museum of Los Angeles County
For two exhibitions

The Creation of Wilderness: A Century of Dioramas at NHM

The Natural History Museum (NHM), built in 1913, still displays 63 large-scale habitat dioramas created in its early years. The dioramas are both art and science; the same painters who produced their landscapes were also accomplished plein air painters, Hollywood backdrop artists, and Imagineers. Though these theatrical recreations of nature have fallen in and out of favor over the last century, curators now praise them as valuable research archives, which preserve the ecology of habitats that no longer exist, as well as the history of collecting and interpreting them. At a time when many institutions have dismantled their dioramas, the NHM dioramas remain a dynamic part of the museum's galleries and are updated regularly. Though they are among the most viewed in the world, familiar to 800,000 annual visitors and millions more who have seen them in films and TV shows, they have never been closely studied. The Creation of Wilderness will tell the artistic and scientific stories of NHM's dioramas, demonstrating how they have shaped diorama art and the ways we view nature. Visitors will be encouraged to reconsider these windows into science, nature, and art through a series of artist interventions, exhibitions, programs, and publications.

Ice Age Field Site

For Ice Age Field Site at La Brea Tar Pits, contemporary artist Mark Dion will create a new body of work that interprets scientific processes for visitors. Dion is well known for using a playful visual vocabulary to examine how public institutions shape our understanding of history, knowledge, and the natural world. The museum's unique site, an urban park dotted with bubbling asphalt seeps, allows visitors to watch scientists at work excavating the fossils of giant sloths, dire wolves, and saber-toothed cats as well as tiny insects, plants, and shells—an entire Ice Age ecosystem. Dion will investigate the museum and its site during an extended residency, leading to an installation that excites visitors' imaginations, creates emotional connections to the research being done at the Museum, facilitates the public's understanding of the process of science, and reminds us that art and science, while not the same, can be allied practices.

Exhibition research support: $180,000

ONE Archives at the USC Libraries
Sexual Science and the Imagi-nation

Sexual Science and the Imagi-nation will consider the uninspected importance of science fiction fandom and the occult to U.S. LGBTQ history. The science fiction and occult communities helped pave the way for the LGBTQ movement by providing a place for individuals to meet and imagine spaces less restricted by societal norms. Researchers will bring an art historical lens to the genres, presenting illustrated magazines, paintings, drawings, and costumes. Focusing on Los Angeles from the late 1930s through 1950s, the exhibition presented at the USC Fisher Museum of Art will look both forward and backward to follow the lives of writers, publishers, and early sci-fi enthusiasts, including progressive communities such as the LA Science Fantasy Society, the Ordo Templi Orientis at the Agape Lodge, and ONE Inc. Spanning fandom, aerospace research, queer history, and the occult, Sexual Science and the Imagi-nation will reveal how artists, scientists, and visionary thinkers worked together to envision and create a world of their own making.

Exhibition research support: $100,000

Orange County Museum of Art
Sea Change: Toward New Environmentalisms in the Pacific Ocean

The Pacific Ocean is the world's largest body of water, comprising more than 30 percent of the earth's surface. It is also the site of some of today's most pressing environmental challenges. Increasing water temperatures and acidity are destroying coral reefs and fisheries. Rising sea levels are displacing coastal communities. And plastic pollution is threatening marine life and air quality. Sea Change will showcase the works of artists who respond to these urgent ecological crises, sometimes in collaboration with ocean scientists, not only to raise awareness, but also to inspire positive change and sustainability. By encompassing the entire Pacific Ocean region, the exhibition will include artists working in diverse environments from Asia and Oceania to South America. For example, Paul Rosero Contreras of Ecuador collaborates with marine biologists to produce videos and installations documenting the effects of ocean acidification on the Galapagos Islands. And Australia's Reef Design Lab creates relief sculptures that latch onto existing seawalls to encourage colonization by marine species and improve biodiversity.

Exhibition research support: $100,000

REDCAT (Roy and Edna Disney/CalArts Theater)
All Watched Over by Machines of Loving Grace

In 1967, Caltech poet-in-residence Richard Brautigan published the poem "All Watched Over by Machines of Loving Grace, "which imagines a future where mammals and computers "live together in mutually / programming harmony." Borrowing its title from this poem, REDCAT's project will address one of the most pressing issues of our time: the impact of artificial intelligence on human life. All Watched Over by Machines of Loving Grace will include an exhibition and a performance series that highlights multidisciplinary artistic practices that engage with the pervasiveness of AI and how it challenges humanity's common values, dismantles our sense of the uniqueness of human intelligence, and questions our agency as human beings. The project team will work with an advisory committee of artificial intelligence industry leaders and a cohort of LA-based community partners—artists, scientists, engineers, and scholars working with artificial intelligence directly—to ground the project in the historical legacies of art and technology in Los Angeles.

Exhibition research support: $160,000

The San Diego Museum of Art
Wonders of Creation: Art, Science, and Innovation in the Islamic World

The 13th-century cosmological text, The Book of Wonders of Creation and Oddities of Existence, written by astronomer and polymath Zakariya al-Qazwini gives an account of all terrestrial and celestial creation, with densely illustrated images of the skies, earth, plants, and animals, both familiar and fantastical. This widely translated text inspires Wonders of Creation, an exhibition that will explore the innovations and blurred boundaries of art and science in the Islamic world from the 7th century to the present day. Bringing together the often-combined work of artists, craftsmen, scientists, philosophers, mathematicians, and their patrons, Wonders of Creation will celebrate their collective contributions to the formation and development of Islamic visual culture. Manuscripts, maps, scientific instruments, and architectural elements will document the multifaceted nature of Islamic science, emphasizing an approach that considers several "sciences," including medicine, astronomy, astrology, philosophy, cartography, alchemy, geomancy (a form of divination), and geometry. Contemporary artworks will also be integrated into the overall narrative, whether in dialogue with historical works or to illustrate how innovations in these fields have had a transformative impact on Islamic and global visual culture up to the present day. A final section devoted to conservation science will explore the modern technologies used to assess and conserve Islamic art, including glass, metalwork, ceramics, and works on paper, and consider the critical role this science plays in the preservation and promotion of Islamic visual culture.

Exhibition research support: $120,000

Santa Barbara City College, Atkinson Gallery
Cosmovisión Indígena: The Intersection of Indigenous Knowledge and Contemporary Art

Mesoamerican dyeing and weaving are often categorized as crafts, a designation that obscures the scientific and technical knowledge that these processes require. Focusing on the production of traditional red dye (carmine) from the cochineal insect, Cosmovisión Indígena will trace the history, science, and contemporary uses of the cochineal dye-making process, while exploring the mythology, ritual, and storytelling used to preserve and pass on this traditional knowledge. The project will establish an art lab and learning garden in Santa Barbara and a community research space in Oxnard, serving members of the Mixtec, Zapotec, and other Indigenous communities from Oaxaca, Mexico, who have settled throughout Ventura County. There, younger Oaxacan-American artists will be able to learn the science, technology, and art of dyeing and weaving from experienced practitioners. The final exhibition will display pieces created at both sites alongside curated artworks by contemporary artists and community members.

Exhibition research support: $100,000

SCI-Arc (Southern California Institute of Architecture)
Planet City

Is it possible to design a socially and environmentally sustainable city for seven billion people? Planet City will imagine what the world might look like if humanity reversed urban sprawl and retreated into a single, hyperdense megalopolis. This unprecedented man-made environment would house the world's entire human population, allowing the rest of the planet's landscapes to revert to wilderness. Drawing on the work of groundbreaking artists, futurists, and scholars, Planet City will challenge dystopian prospects of the cities of tomorrow and instead offer an optimistic vision for how we can sustain life on Earth and safeguard natural biodiversity. The centerpiece of the exhibition will be a scale model depicting the imaginary city's built environment, created by a team of Hollywood animators and visual effects artists. An interactive video game, Sim Planet City, will allow audiences to experience the implications of living inside a vast project of sustainable urban design. An animation of Earth as seen from space will show how Planet City would impact our world's landforms, waters, geologies, atmospheres, temperatures, and weather patterns.

Exhibition research support: $100,000

Self-Help Graphics & Art
Sinks: Places We Call Home

In Los Angeles, as elsewhere in the United States, communities of color are often the populations most vulnerable to the toxic effects of industrial waste and soil contamination. Sinks: Places We Call Home will highlight the environmental disparities created by the manufacturing sites in two communities located near Self-Help Graphics (SHG): Exide Battery plant in Vernon and the former Athens Tank Farm (Exxon/Mobil Oil Corporation) site in Willowbrook. Los Angeles-based artists Beatriz Jaramillo and Maru Garcia will partner with SHG and scientists from the Natural History Museum of Los Angeles to conduct data-driven research that reveals harmful practices of the past and present and their devastating ramifications on people and the environment. Producing new work for the exhibition, Garcia will pursue soil sampling and remediation studies in the areas surrounding Vernon, and Beatriz will invite voices from the Willowbrook communities into the exhibition through a collaborative installation. An interactive component will use virtual reality to demonstrate land remediation processes. Sinks will elevate the voices and stories of the people who form these neighborhoods, despite the locations having served as sinks or reservoirs of pollution, and will inform audiences about land contamination and its remedies.

Exhibition research support: $110,000

Skirball Cultural Center
Invisibility: Powers and Perils

When H.G. Wells wrote The Invisible Man in 1897, invisibility was the stuff of science fiction. Today, it is starting to become scientific reality. Invisibility: Powers and Perils explores how invisibility and its inverse, hyper-visibility, have become central to life in the 21st century, and how artists have responded. Invisibility can be physical, through magic or technology, or political, through social marginalization. The exhibition will inspire viewers to consider leading-edge scientific and artistic developments that examine issues of invisibility, such as computer scientist and digital activist Joy Buolamwini's interventions exposing the racial biases and inaccuracies of facial recognition software. These artworks will be installed alongside "labs" where visitors can engage with emerging technologies such as light-bending materials used in military stealth camouflage, high-speed cameras capable of photographing a single photon of light, and a nearly invisible camera the size of a grain of salt. Invisibility: Powers and Perils will ask: Who deploys invisibility today and to what end? And how can invisibility function as both a means of oppression and a tactic of survival and resistance?

Exhibition research support: $90,000

UCI Beall Center for Art + Technology
Future Tense: Art, Complexity, and Predictability

Future Tense: Art, Complexity, and Predictability explores the nexus between complex systems in contemporary art and science and how techniques of forecasting are used to model predictions in diverse sectors, from the economy or the climate to pandemics. In the early 20th century, concurrent movements in art and science—such as Surrealism and quantum dynamics—investigated randomness, indeterminacy, and unpredictability. These ideas anticipated Complex Systems Theory, which employs scientific resources such as large data sets, algorithms, and machine learning to understand and predict social problems. Since the 1960s, artists have incorporated these complex models into their practices. Future Tense: Art, Complexity, and Predictability will feature emerging and established contemporary artists who use methods such as computer modeling and big data to probe the limits of chance and certainty. For example, Lynn Hershman Leeson uses algorithms, performance, and projections to make visible racial profiling techniques used by law enforcement. Pinar Yoldas's work combines biological, environmental, and social science research to suggest potential or alternate pathways of evolution. For the exhibition, the Beall Center for Art + Technology will also invite artists to its Black Box Projects residency program to collaborate with UC Irvine researchers and professors on their work for the exhibition.

Exhibition research support: $100,000

UCLA Art | Sci Center
Atmosphere of Sound: Sonic Art in Times of Climate Disruption

If the scale and complexity of climate change exceed the limits of human perception, how can artists represent it? Atmosphere of Sound will examine how sound-based artists have responded to the climate crisis, finding a unique point of entry to this representational challenge. Sound art, as a medium, evades and challenges the certainty that is often associated with the sense of sight. The inherent ambiguities of sound are therefore one path to help audiences understand the rapidly shifting state of the climate and its effects on the physical world. An interdisciplinary network of artists, scientists, and humanists working with sound will contribute to the exhibition's research phase, including participation in discussion forums that will be open to the public. Presented in collaboration with UCLA's Center for the Art of Performance, Atmosphere of Sound will include immersive sound works, projection-based pieces, and other types of participatory multimedia art in public spaces, engaging audiences in deep reflection on the climate crisis.

Exhibition research support: $90,000

UCLA Center for Medieval and Renaissance Studies
Verdant Worlds: Exploration and Sustainability across the Cosmos

Verdant Worlds: Exploration and Sustainability across the Cosmos will trace the history of exploring and identifying new lands, from the early modern Spanish and British empires to NASA's missions to the Moon and Mars. This collaboration between the UCLA Center for Medieval and Renaissance Studies, Caltech's Graduate Aerospace Laboratories, and the USC Fisher Museum of Art will take a novel approach to the history of colonialism, considering Renaissance territorial expansion alongside 20th- and 21st-century interstellar exploration. Archival records show that the search for new realms has always raised concerns about the exploitation of natural resources. Verdant Worlds will analyze how artists, writers, and musicians of the Renaissance envisioned space travel, dreaming of creating new worlds on the Moon and in space, and will deepen audiences' understanding of the colonization of the Americas while expanding their knowledge of early modern science. The exhibition will conclude with new works by three contemporary artists—including Los Angeles-based artist Sandy Rodriguez—who are concerned with colonization, exploration, and sustainability.

Exhibition research support: $100,000

UCLA Film & Television Archive and UCLA Cinema & Media Studies Program
Science Fiction Against the Margins

Science Fiction Against the Margins explores what takes place when the science fiction genre extends outside of Hollywood and into independent filmmaking productions that foreground cultural difference, political injustice, and social inequality. Sci-fi films are typically dominated by Hollywood's action-driven melodramas and state-of-the-art spectacles featuring a heteronormative star who will restore social order, whether on earth or in space. Science Fiction Against the Margins challenges these conventions of mainstream cinema by considering how certain independent filmmakers repurpose established tropes to privilege alternative representations of race and ethnicity, gender politics, and national identity in the construction of speculative cinema. This project will consist of an eight-week, public film series showcasing feature films from around the globe, complementary narrative shorts and television programs, and a groundbreaking anthology of original scholarship on the subject.

Exhibition research support: $120,000

UCLA School of the Arts and Architecture
Art and the Internet in LA

"Websites are today's most radical and important art objects." This was the dictum of Miltos Manetas, artist and founder of Electronic Orphanage, a short-lived art space in LA's Chinatown, where websites could be seen through the windows of the gallery. Art and the Internet in LA will explore the history of artists in Los Angeles who have worked with, responded to, and transformed the internet since the pivotal moment in 1969 when Professor Leonard Kleinrock made the first-ever internet transmission from his laboratory at UCLA to Stanford University, through the emergence of the World Wide Web, to the ubiquitous influence of the internet today. While the internet is often seen as being placeless, focusing on Los Angeles-based artists will demonstrate how this specific social, political, environmental, and cultural context shapes artistic work. In a novel approach, the exhibition research will be crowdsourced: an online research portal will allow artists and community members to contribute information about artworks and make connections between them through keyword tagging. The project team will collaborate with local curators and communities to identify key themes and select pieces for inclusion in the final exhibition.

Exhibition research support: $110,000

UCR ARTS: California Museum of Photography at the University of California, Riverside
Digital Capture: Southern California and the Origin of the Pixel-Based Image World

Digital imaging was largely invented and developed in the research labs of Southern California during the Cold War and Space Race of the 1960s. Though digital imaging has become part of everyday life and popular culture, Digital Capture: Southern California and the Origin of the Pixel-Based Image World represents the first sustained scholarly research on its origins. The exhibition will examine the technological and ideological shifts that took place as pathfinding artists adopted digital photography. Using photographs, video, and other visual artifacts in addition to key archival documents and historical equipment, the exhibition will explore the history of digital imaging from February 1961—when Jet Propulsion Laboratory engineer Eugene Lally published a concept paper describing the possibility of "digital photography"—to the first release of Adobe Photoshop on February 19, 1990. The second part of the exhibition will continue the narrative, looking at how pioneering artists have appropriated rapidly evolving digital technologies and bent them toward politics, social commentary, personal visions, or pure visual voyaging.

Exhibition research support: $110,000

UCSD Institute of Arts and Humanities
Oceanographic Art and Science: Navigating the Pacific

Oceanographic Art and Science: Navigating the Pacific will explore the visual and sensory techniques, past and present, used to see, measure, and imagine the oceans. The charts, maps, vessels, and instruments historically used by scientists and Indigenous communities to navigate the Pacific will be studied by teams of artists, scientists, and scholars to reframe South Pacific research in the wake of colonial science. Modern ways of mapping and displaying the movement and exchange of knowledge in the broader Pacific region across climate, earth, polar, and ocean science will inform the development of new artworks that mine the archives of the Scripps Institution of Oceanography, one of the largest, oldest, and most significant centers for ocean and earth science research, and a longtime advocate of art-science collaboration. The exhibition will span two sites on the UC San Diego campus in La Jolla. The Geisel Library will showcase new works on paper and historical images and objects from the archives. At the Birch Aquarium at Scripps, new interventions by artists, ethnomusicologists, and filmmakers working with Scripps scientists will illuminate the Aquarium's living collections and serve as prototypes for new models of collaborative interdisciplinary research.

Exhibition research support: $120,000

Vincent Price Art Museum at East Los Angeles College
Carolina Caycedo: The Collapsing of a Model

The work of Los Angeles-based Colombian artist Carolina Caycedo decenters Western notions of science by engaging with the history of natural environments, ecological justice, and collective memory. Carolina Caycedo: The Collapsing of a Model will highlight Caycedo's ongoing efforts to restore watersheds and other ecosystems damaged by corporate extraction, using Indigenous, peasant, and eco-feminist frameworks. Through extensive field research and collaborations with ancestral communities, scholars, activists, scientists, and engineers, Caycedo investigates strategies for alternate energy sources and sustaining practices across the Americas. This major exhibition of Caycedo's work will feature new and existing artworks produced since 2012, encompassing sculpture, video, photography, and performance, including her Geochoreographies, Cosmotarrayas, and Water Portraits. The exhibition will be accompanied by extensive educational programs and partnerships, including a research lab project with STEM students at East Los Angeles College.

Exhibition research support: $110,000

The Wende Museum
Connected Dreamworlds

During the Cold War, revolutions in science and technology produced new forms of mass media and design on both sides of the Iron Curtain. Connected Dreamworlds will highlight the vision of social progress through scientific advancement shared by the United States and the U.S.S.R., focusing on overlap rather than opposition. Hopes and fears about science and technology were reflected in the architecture, product design, and competitive cultural climate that affected the everyday lives of millions of people in both the Western and Soviet worlds. The exhibition will examine visionary solutions and critical reflections on the roles of science and technology in the East and the West. It will explore science fiction art, film, and imagery that responded to the Space Race and it will take an in-depth look at the growth of surveillance and facial recognition technologies that were developed simultaneously in the East and the West, both for identification and control. The exhibition will include new work by Los Angeles-based artist Ken Gonzales-Day that addresses the science of facial recognition and its racial biases.

Exhibition research support: $100,000

The following exhibitions being organized directly by Getty will be part of Pacific Standard Time and are not funded by a grant:

J. Paul Getty Museum
Lumen: The Art & Science of Light

Light is fundamental for vision and visuality. Although contemporary society separates science and spirituality, in the pre-modern world the study and science of optics were harnessed by artists, theologians, and philosophers to understand both the world and the heavens. How were light and vision understood during pre-modern eras, and how does contemporary scientific study contribute to the creative narratives of artists today? Lumen will explore the inseparable histories of art, science, and spirituality through the lens of light, with presentations across the Museum's site that investigate light in the visual arts—from the Middle Ages and up to the present day. Bringing together a variety of media that materialize light in different ways, including painting, sculpture, manuscripts, film, photography, and holograms, the exhibition will show how the sciences of optics have fed the poetry, imagination, and spirituality of artists across time.

Getty Research Institute
Experiments in Art and Technology

Bell Telephone Laboratories, a scientific research center for the mid-century telecommunications industry, produced much of the foundational technology for the digital age. From its campus just outside of New York City, this institution renowned for inventing the transistor, the laser, information theory, and many computer programming languages also served as a launchpad for artistic experimentation. In 1966, Bell Labs electrical engineer Billy Klüver teamed up with American artist Robert Rauschenberg to form a new non-profit organization, Experiments in Art and Technology (E.A.T.). From its debut event which integrated groundbreaking technology, art, and theater at the Armory in Manhattan, to its development of a multi-sensory environment for the first international exposition in Asia, the Pepsi Pavilion for Expo '70 in Osaka, E.A.T. played a critical role in fostering collaboration between leading artists and engineers. Drawing on E.A.T. Records uniquely held at Getty, as well as the archive of live electronics composer and E.A.T. contributor David Tudor and the photographic collection of Harry Shunk and Janos Kender, this exhibition will tell the story of E.A.T. by highlighting the group's innovations in electronics and audience participation.