Victor Acevedo

Victor Acevedo is an artist best known for his digital work involving printmaking and video. Since 2007 his primary focus has been working with video and producing (electronic) visual music works. As an ongoing practice, Acevedo issues images as signed limited edition archival prints and sometimes as NFTs sourced from his video work. His hybrid imagery tends to combine figuration with geometrical abstraction and sometimes presents as pure abstraction.

Acevedo is considered a desktop computer art pioneer as he was an early adopter of pre-Windows personal computer software to create fine art in the early 1980s. He now works primarily on the Apple Macintosh platform. He has shown his work in over 130 group and solo art exhibitions in the U.S. and Internationally since 1982.

Acevedo's early influences were Cézanne, Picasso, M.C. Escher, Salvador Dalí and R. Buckminster Fuller. A deep study of their work and ideas, led him to the genesis of his aforementioned space-frame & polyhedral graphical metaphor. It was a kind of 'geometrical Surrealism' and it was quite evident in his early period analog media work. This interplay of geometry and a kind of Neo-Surrealist content carries over to both his digital print and video work.

In 1979, during his analog media period, Acevedo was inspired by his reading of Fritjof Capra's book 'The Tao of Physics' which explores the parallels between modern physics and Eastern mysticism. In the chapter called Emptiness and Form there is a discussion of the ‘void’. It is a domain which is totally empty yet simultaneously full and brimming over with the potentiality of being. This mirrors the behavior of sub-atomic particles or wave phenomena in relation to an underlying field as described in Western physics. With this understanding, Acevedo would use in his images, periodic geometrical structure as a metaphor for this field as a substrate for his figurative subjects. He would call this metaphor the ‘void-matrix.’

Acevedo's graphic visualization of this 'void matrix' structural field metaphor in some of his early work was achieved by his adoption of various geometrical structures which are detailed in R. Buckminster Fuller's book called Synergetics: Explorations in the Geometry of Thinking. The primary polyhedral net or space-frame he used is the isotropic vector matrix (IVM). It is an all-space filling network made up of alternating octahedra and tetrahedra. Most recently in Acevedo's video work, this polyhedral network is often times distilled to a single screen centered, dynamic multivalent 'node' called the Cuboctahedron and its transformations or as Buckminster Fuller would say the Jitterbug or VE (Vector Equilibrium).

The arc of Acevedo’s career is noteworthy in that it begins in his student phase in 1977 with traditional (analog) media painting and drawing and then shifts, starting in 1983 over a 4-year period to exclusively digital media. To date, the 3 main periods of Victor Acevedo’s oeuvre could be described as the following,

1977- 87: Analog Art: traditional media, painting, drawing and film
1983 to 2007: Digital Art: archival ink jet and photo prints
2007 to present: Visual Music: Digital Video and Digital Prints

Initially the main intent of Acevedo's work was to explore the structure of space by re-visioning pictures taken from everyday life. In that, there is a metaphorical juxtaposition between everyday human activities or events and 'extra-sensory' non-anthropomorphic and crystalline energetic flow as represented by polyhedra and polyhedral nets (space frames). The use of this geometry and the graphical tension achieved by combining it with photographic data is an opportunity to represent spatial field phenomena in a way that is non-cubical and non-cubist and something other than the isolated abstract phenomenology of color contrast and resonance (color field)

From 1985 to 1990 Acevedo worked off and on with the PC-based Cubicomp 3D modeling and animation system. The images called Tell Me the Truth and 6.26.27.86 are key examples of his Cubicomp 3D/Targa (TIPS) paint system work from this period. His earliest video works which included computer animation were produced in 1985.

Acevedo's first important digital prints were presented as the Ectoplasmic Kitchen series produced in 1987 and exhibited for the first time in a gallery at the Brand Library in Glendale, California the following year.

However the true public debut of the Ectoplasmic Kitchen series was during an outdoor audio visual performance featuring Math Band at the California State University, Los Angeles on September 30, 1987. In this context, Acevedo’s images were projected as 35mm slides.

In Long Beach, California in 1983, Acevedo created his first computer images in a workshop taught by Frank Dietrich a pioneering computer graphics practitioner and theorist. The next year he studied briefly with artist Tony Longson programming simple graphics on a VAX main frame. By 1985 he was making animations on an Apple IIE under the tutelage of Peter Sorensen at UCLA.

In 1993 Acevedo adopted the use of Softimage 3D and began his distinct “silver geometry period” producing such works as Skull and Suit on the Phone as well as his underground collaborations with Andy Warhol, associate Billy Name Linich in 1997.

In early 1995 Victor moved to New York City and became a digital artist in residence in the BFA Computer Art Department at the School of Visual Arts. He joined the faculty there in 1997 and moved to the Masters level (MFA) program three years later.

In 1996 he created one of his most well known images called The Lacemaker, which he named after the same-titled painting by Johannes Vermeer (1665). This piece was later featured in the ACM/SIGGRAPH produced 1999 documentary called The Story of Computer Graphics. In 1998 it was exhibited in Touchware, which was the art show for ACM/SIGGRAPH 1998.

Also in 1996, Acevedo began experimenting with video works that were based on looped animated computer graphic polyhedral structures. Victor: I simply wanted to see what those looked like and what other residual perceptual effects would emerge from watching those geometrical forms in repeating motion.

In June 1998 an event that proved a validation of his early (1979–85) traditional media artwork and concepts, Acevedo was one of 13 artists invited to exhibit work alongside Escher's at the M.C. Escher Centennial Congress in Rome. Examples of both his analog and digital art work were presented there. These were the graphite drawing, Four-fold Rotational Wasp and his early digital print called Ectoplasmic Kitchen. He was also awarded a Medal of Distinction by the M.C. Escher Foundation for his video documentary work of the congressional proceedings
 
In 2002 Acevedo’s essay, Space Time with M.C. Escher and R. Buckminster was published in the book Escher’s Legacy: A Centennial Celebration, edited by Doris Schattschneider and Michelle Emmer (Springer-Verlag, 2002).

In 2003 his essay entitled Why Digital Prints matter was published in the ACM/SIGGRAPH conference art show catalogue and visual proceedings. The art show that year was called CG03 and was curated by Michael Ragsdale Wright. Acevedo debuted two medium format prints titled David Acevedo and Nu Cynthesis.

In 2005, the afore mentioned Tell Me the Truth, one of Acevedo’s early 1990s digital art prints was acquired by the Victoria & Albert Museum in London, as part of their acquisition of the Patric Prince Computer Art Collection.

In November 2005, Acevedo was invited to exhibit some of his prints and give a lecture about the development of his work at an international symposium called Synergetics in the Arts at the Isamu Noguchi Museum, in Long Island City, NY. The 2-day event was co-produced by the Synergetic Collaborative (SNEC). Acevedo’s talk, Art of the Void Matrix, addressed the ongoing conceptual connection between his work and that of R. Buckminster Fuller’s synergetic geometry.

In 2006 Acevedo began a collaboration with design scientist Thomas Miller and architect Fabiano Cavichioli. Their collective dialogue and work together has had an enormous influence on his current practice, especially in the application of Miller’s ground-breaking work known as Synergetics 3.0.

In 2007 his work was cited in ACM SIGGRAPH’s digital art history archive initiative.

To date, three of Acevedo’s 30x40” archival ink-jet prints have been acquired and entered into the prestigious Anne + Michael Spalter Digital Art Collection. The prints are, The Violist and NYC 83-85 in 2007 and more recently the Sunburst Couple in 2018.

In 2006 through 2013, Acevedo’s work was featured in several art history books. The first of which was called Art of the Digital Age, edited by Bruce Wands (Thames and Hudson 2006) The piece reproduced in the book is called Eric in Orense (2000) and it was also featured in the book’s online and hard-copy promotional announcements. The book is described as “The first major illustrated survey of this exciting, new, and experimental field”. 

Acevedo’s work was discussed at length in an important and influential book called From Technological to Virtual Art, written by art historian Frank Popper, (MIT Press 2007).

His image called Springside Cynthesis and a descriptive blurb about his work was included in Wolf Lieser’s Digital Art (Ullmann/Tandem, 2009) and also in the large format ‘coffee table’ edition this book, retitled The World of Digital Art (h.f. Ullman, 2010)

Acevedo’s image 4D Memory Cluster was reproduced in the book Moving Innovation: A History of Computer Animation (Tom Sito, MIT Press, 2013)

Acevedo brings to his current roles as a visual music video maker and live real-time visualist (VJ) over 35 years of experience in the visual arts.

Following the natural evolution of his work, in 2007-09 Acevedo shifted his primary attention to producing digital video works. Exploring the implications of synesthesia and cymatics as well as the use of computer animation based on Buckminster Fuller's Synergetics, much of his video work investigates the intersection of electronic music and audio synthesis as in drone or glitch works, harmonic noise and dynamic geometrical structure. Later he began integrating a real-time video mix work-flow into his audio-visual (AV) studio practice. Acevedo initially positioned himself inside the genre called Visual Music.

Following the natural evolution of his work, in 2008-09 Acevedo has shifted his primary attention to producing visual music works. Exploring the implications of Synesthesia as well as the use of computer animated geometry based on Buckminster Fuller’s Synergetics, his new work investigates the intersection of dance, electronica and dynamic geometrical structure.

In 2011 he joined Los Angeles Video Artists (LAVA) and started attending their monthly meetings. Within that community he learned how to perform and project live mix video via apps that can run on a MacBook Pro. For a couple of years (2012–2014) he explored applying his motion graphic work to real-time live visuals for underground or non-mainstream EDM events (Drum and Bass and Dubstep). In doing so he combined his interest in contemporary electronic bass music with concepts in Digital Cinema and Synergetic Geometry. His music video work and live visual (VJ) performances were informed by a synthesis of both these traditions, disciplines, and resultant phenomenologies.

In 2013 Acevedo coined the term Electronic Visual Music. Its acronym is EVM. It was a play on EDM and an update of the genre called Visual Music. He first attached it to a Drum and Bass monthly that he was planning but the events were put on hold. The first time he used the term publicly was for an AV performance event at Los Angeles Center for Digital Art in May 2019.

Since 2014, Acevedo has been exploring the realm of pure abstraction to a greater degree. Thus, establishing a new body of work in parallel to his that addresses figurative subjects. In late 2015, slipping easily back into the fine-art community, he began showing fairly regularly at the Los Angeles Center for Digital Art (LACDA) in Downtown Los Angeles.

Acevedo's ongoing collaboration and dialogue with design scientist Thomas Miller and architect Fabiano Cavichioli has been an enormous influence on his current practice, especially in the application of Miller's ground breaking work known as New Tools Geometry which is based on Buckminster Fuller's Synergetics.

While Acevedo will occasionally project visuals for live abstract music, circuit bending or modular synthesis shows, he has taken a step back to revisit his 'life-time' of work in order to convey its story and evolution as a whole. This period of time included his 2017 career survey artist talk and his 2019 retrospective exhibition, both at LACDA and then soon thereafter his video retrospective at Digital Debris gallery in early 2020.

During the 2020 COVID-19 Pandemic lock downs in Los Angeles, Acevedo took the time to complete the production of a book called Acevedo in Context.

In early 2021 Acevedo began to make some of his work available in the emergent NFT digital art space. Although it's still early days, he sees it as a potential significant paradigm shift for digital art in the fine art marketplace.

Victor Acevedo (b.1954 USA) is an artist and desktop computer art pioneer, best known for his digital work involving printmaking and video. As of September 2020 Acevedo's work has been included in these four online digital art archives:

http://www.isea-archives.org/
https://www.digitalartarchive.at/nc/home.html
https://digitalartarchive.siggraph.org/
https://ars.electronica.art/about/en/archiv/

He attended Art Center College of Design in Pasadena (1979-81). He lived in New York City from 1995 to 2009 where he taught at the School of Visual Arts, in both the BFA and MFA Computer Art programs. He is now based in Los Angeles, California.

Acevedo's digital fine artwork has been featured in many books and publications including:

01 "Moving Innovation: A History of Computer Animation". (Tom Sito, MIT Press, 2013)
02 ”The World of Digital Art” (Wolf Lieser, Ullman, 2010)
03 "Digital Art" (Wolf Lieser, Ullman /Tandem, 2009)
04 "From Technological to Virtual Art" ( Frank Popper, MIT Press, 2007)
05 "Art of the Digital Age" (Bruce Wands, Thames and Hudson, 2006)
06 "Escher's Legacy: A Centennial Celebration," (eds. Schattschneider & Emmer, Springer-Verlag, 2002)
07 “Computer Graphics Art” ( Tomoyuki Nagata, Graphic-sha Publishng, 1992)
08 “CyberArts: Exploring Art and Technology” (ed. Linda Jacobson, Miller Freeman Inc., 1992)

EDUCATION

2016-17: Post Production + SFX + VR @ Studio Arts School, LA
2013-14: Research + Practice: Real-time video VDMX
2006-07: Study: New Tools Geometry - Instructor: Thomas Miller
2005-06: Final Cut Pro + Adobe CC - School of Visual Arts, NYC
1985: Computer Graphics, University of California, LA (UCLA)
1984: Computer Graphics, West Coast University, Los Angeles CA - Instructor: Tony Longson
1983: Synergetic Geometry - Buckminster Fuller Inst. Philadelphia, PA Instr: Amy Edmonson
1983: Computer Graphics - Long Beach Museum of Art: Firehouse Annex - Instructor: Frank Dietrich
1979: Research: The M.C. Escher Notebooks - M.C. Escher Foundation, Den Haague, Holland
1979-81: Fine Arts Major: Art Center College of Design, Pasadena, CA
1977-78: Fine Arts Major: University of New Mexico, UNM Albuquerque


SELECTED EXHIBITIONS & EVENTS: 1982-2020

2020: Aug 26, Acevedo EVM @ ACM SIGGRAPH LA, Chapters Gathering
2020: June 11, SoundPedro: streamed: Terabyte Psych & Acevedo+J3m5, 2020: March 5, EXP Music: Visuals: Acevedo, LIVE House, Ho. CA
2020: Feb. 1, EVM performance Acevedo+J3m5, Digital Debris, LA CA.
2020: Feb. 1-14, Acevedo: Video Survey 2007-19 Digital Debris, LA, CA
2019: May 25, EVM @ LACDA: Acevedo + Rex Bruce, J3m5, Hookah
2019: May, LACDA: Victor Acevedo - Retrospective: 1985-2019
2019: April, LACDA Acevedo in 15th Anniversary members Exhibit
2019: Feb. LACDA Glitch show: Acevedo video: Proxima Nova
2018: Oct. LACDA Acevedo shows print: Sunburst Couple
2018: Oct. LAVA @ CTC for Brewery Artwalk: Video: A Walk in the City
2018: Sept. LACDA Acevedo shows video: Mantric Fullerene
2018: Aug. LACDA Acevedo shows print: The Lacemaker
2018: May, LACDA Member Artists Exhibit: Acevedo-Name: Bob Dylan
2018: Jan. LACDA Collab + M. Woods: Numb Spiral: Building the Wall
2018: Jan. LACDA Group show: Analog Impedes, Digital Infects
2017: Sept. “Abstract” Show at “O” Mind Gallery: Life Form 1 & 2
2017: Oct. LACDA Acevedo shows video: Anonymous Real-time
2017: Sept. LACDA Acevedo shows video:
2017: April, LACDA Acevedo shows video: Red Shadow v02
2017: March, LACDA Acevedo shows video: Recordings v02
2016: May, LACDA Featured Video Artists: A Walk in the City
2015: Dec. LACDA Featured Video Artists: Theater of Bones
2015: July, LACDA Acevedo shows video: Untitled Horizon
2014: Apr. Hacking the Timeline 3.0 EZTV @ 18th Street Art Center
2011: Nov. SYNERGETICS @ Waterman Gallery: RISD: VE Dance Study
2007: Synergetic Geometry group exhibition: The Waterman Gallery
at Rhode Island School of Design (RISD)
2007: “Art of the Digital Age” lecture/panel discussion on Thursday, April 12, 2007
@ NYIT Manhattan (Acevedo + others)
2006: GOLDEN PLOTTER ‘06 Gladbeck, DE included Acevedo print “What’s So Different About Today’s Inner Child”
2006: Feb. Hacking the Timeline 1.0 EZTV @ 18th Street Art Center
2005: Nov. SYNERGETICS in the ARTS: Isamu Noguchi Museum
2005: July, SYNAPSE @ LACDA
2005: SIGGRAPH/Traveling Art Show, Paris,
2005: April ANIGMA Festival Novosibirsk State Art Museum
2005: Jan. Digital Stories (4 artists) Digital Art Museum, Gallery, Berlin
2004: Millennium Art Museum, Beijing, China,
2004: SIGGRAPH/Traveling Art Show: Cleveland Art Museum
2003: Oct. The 1st Anigma Festival, Novosibirsk, Russia
2003 SIGGRAPH CG03, San Diego, CA : Nu Cynthesis, Davis Acevedo
2002: Oct. Digital Duality @ EZTV/Cyberspace, Santa Monica, CA.
2002: Arcade III James Hockey Gallery, Farnham, Surrey, UK (11 January - 5 March’02); New Greenham Arts Centre, Berkshire, UK (11 March - 5 April’02); London Guildhall Gallery, London, UK (20 April - 15 May 2002); Levall Gallery, Novorsbirsk, Siberia, Russia (18 – 31 July’02); International Art Festival, Tengri Umai’, Alma-Ata, Russia (15-22 Sept. 2002); State Museum of Fine arts, Bishkek, Kyrgyzstanof Fine arts, Bishkek, Kyrgyzstan

2002: YLEM’s 20th Anniversary Exhibition, San Francisco, CA
2001: June, SILENT MOTION opens @ Colville Place Gallery, London
2001: New York Digital Salon: Group Show: Corning Gallery, NYC
2001: Arcade III, continues to tour the UK + other venues, 2001 - 02
2001: Arcade III Glasgow School of Art, Scotland (April 9 -11 May); Grey’s School of Art, Aberdeen, Scotland (October 1 – 25),
2001: Galerie der Gegenwart, Weisbaden, Germany
2001: SILENT MOTION, Stanley Picker Gallery Kingston Univer.
2000: Homage to Escher - web exhibition Leonardo Online
2000: April, Acevedo, Rieben & Smith - PodGallery, Spectra Digital, NYC
1999: DIGITAL MUSE - Wellesley College, Wellesley, MA
1999: Sept. The 2O Year Anniversary of EZTV/CyberSpace @ AFI: American Film Institute, Los Angeles, CA.
1999: Sept. POD2 - Pod Gallery, Spectra Digital Arts, New York City 1999: May, POD1 @ Vibrant Gallery, NYC
1998: July, Touchware: ACM/SIGGRAPH98, Orlando, Florida
1998: July, Gold - Silver @ Vibrant Gallery, SoHo, New York City
1998: June, Homage to Escher - The M.C. Escher Centennial Congress, Rome, Italy
1998: June Black - Yellow @ Vibrant Gallery, SoHo, New York City
1998: May: The Wave: Digital Process @ Open Interactive Media, NYC
1998: April, Purple - Orange @ Vibrant Gallery, SoHo, New York City
1998: Feb. Red - Blue @ Vibrant Gallery, SoHo New York City
1997: Aug. L.A. DIGILANTES @ Museum of Art Downtown, LA
1996: Nov. 4th Annual DIGITAL SALON - School of Visual Arts, NY
1996: Sept. ASCI: The ART of SCIENCE the SCIENCE of ART Westbeth Gallery, NYC
1996: July, Salute to Broadstreet - AudArt Gallery, New York City
1996: Deus Ex Machina, California Polytechnic University, Pomona, CA
1996: Jan. COMPUTER ART TODAY - Columbus College, Georgia
1995: Oct. 8 - Dec. 15, Digital Explosion: Artist and the Computer - Finegood Gallery, West Hills, CA
1995: Aug. Digital Site - SITE Gallery, Los Angeles. CA
1995: Aug. Digital Site - @Cafe, 12 St. Marks Place, New York City
1995: Mar. INFORMATION SUPER HIGHWAY - Downey Museum of Art, CA
1995: DIGITAL SHOWCASE - Liberty Science Center, Jersey City, NJ
1994: Feb. COMPUTER KUNST: Forum Kunst & Schule, Gutersloh, DE
1994: Feb. DIGITAL ARTIFACTS - California State University, Chico
1994: DIGITAL LA - Sam Francis Gallery, Crossroads School, SM, CA
1994: 1010 Small Artworks, Roberts Art Galley. Santa Monica, CA
1994: June, GOLDEN PLOTTER ‘94 Gladbeck, Germany : NYC 83-85
1994: Feb. DIGITAL SPECTRUM - curated by Fatimeh Holste, Mount San Antonio College, Walnut, CA
1994: July, Consider a Window - The Williams Gallery, Princeton, NJ
1994: July, Everything in SITE - SITE Gallery, DTLA
1994: Aug. UNDEREXPOSED - Los Angeles Municipal Gallery @ Barnsdall Park, Los Angeles, CA
1994: Nov. 2nd Annual DIGITAL: SALON - School of Visual Arts, NYC
1993: Jan. CYBERART @ Powells Technical Bookstore, Portland, OR
1993: March, CYBER ART University of Oregon Continuation Center, Eugene, OR.
In these 2 Portland shows, Acevedo shows his prints Tell Me the Truth and 6.26.27.86 v3B
1993: May, In the Raw @ SCI-ARC building. Santa Monica, CA
1993: Nov. THE ART FACTOR: ISEA ‘93 International Symposium of Electronic Art - MCAD: Minneapolis, MN - shows 6.26.27.86
1993: Aug. FAR BAZAAR BQ - F.A.R. Exhibition @ Sue Spaid Gallery, LA, CA - Acevedo shows a print called AXIS.
1993: May, COMPUTER REVELATIONS: A New Perspective - DA Gallery Pomona, CA, Acevedo shows T3r3 - later titled Tea Time
1993: Oct: TECHNO ART - Spectrum/Fuzee Gallery, San Francisco, CA This show included the Acevedo prints called Resonance v01 and 6.26.27.86 version 3B
1993: Sept. COMPUTER INFLUENCE - Downey Museum of Art, Downey, CA jurors: Michael Brodsky & Scott Ward
1993: Aug. I SING THE BODY ELECTRIC - curated by Susan Wiersema Lancaster Museum of Art, Lancaster, CA
1993: Aug. DIGITAL SALON Des Independents - CyberSpace Gallery - EZTV West Hollywood, CA
1993: Dec. EZTV / CyberSpace Gallery at the LA ART Fair
1993: May, Computer Art, Hand Gallery, Santa FE, NM: Feb 29, ‘93 v01
1992: April, Computer Art, Hand Gallery, Santa FE NM : Wired Couple
1992: 5th Annual Computer Arts Invitational - E. Washington University Cheney WA - curated by Richard Twedt : 6.26.27.86 v1
1992: Sept. SILENT PARTNERS - Inagural show at CyberSpace Gallery - EZTV West Hollywood, CA
1992: Oct. Digital Art @ 3rd CyberArts International, Pasadena
1992: Nov. TECHNO-ARTISTS–NEW PARADIGMS for Virtual Reality Center for Visual Arts, Metro State College, Denver, Colorado - curated by Sally Perisho
1991: Jan. 4th Annual Computer Arts Invitational - E. Washington U - Cheney WA - curated by Richard Twedt
1991: Angels Gate CC Members Exhibition - curated by Peter Frank : Gate Gallery, San Pedro, CA
1991: Sept. PRIX ARS ELECTRONICA - Linz, Austria
1991: Sept. COMPUTER GENERATIONS Warwick Museum of Art, RI.
1991: ARTIST and COMPUTER curated by Scot Canty @ LA Municipal Satellite Gallery at the West Los Angeles City Hall
1991: Nov. Verbum Gallery of Digital Art at the 2nd CyberArts International at the Pasadena Convention Center, CA
1991: The COMPUTER ART SHOW : New Mexico State University Las Cruces, New Mexico - curated by Karen Mobley
1990: Verbum Digital Gallery at the first CyberArts International Conference, at the Biltmore Hotel in Downtown Los Angeles, CA
1990: Sept. ACM SIGGRAPH/LA : ART 1990 - EZTV, West Hollywood, CA
1990: Oct. Gallery Artists - Boritzer/Gray Gallery, Santa Monica, CA
1990: Jan. Williams Lamb Gallery. Long Beach, CA : Ectoplasmic Kitchen v02, Agreement v02, Semiotic Outback v02
1989: Nov. HUDSON VALLEY ‘89 : Mid-Hudson Arts & Science Center - Poughkeepsie, NY
1989: April, Computer Art Show - STUDIO M, Oakland, CA (Ectoplasmic Kit.) Acevedo shows Ectoplasmic Kitchen v02
1989: Acevedo in Metropolis, computer art solo show at Metropolis Restaurant, West Hollywood, CA
1989: Hand Gallery, Santa Fe New Mexico / shows Wired Couple
1989: 3rd annual Computer Arts Invitational E. Washington State University
1989: Nov. 6-18 Computer Painting, Oregon State U. Corvallis, OR
1989: Nov. Computer Art Invitational - ABACI Gallery of Computer Art, Portland, Ore. - curated by Daria Barclay
1988: Nov. 2nd annual Computer Arts Invitational - E. Washington U. Cheney WA - curated by Richard Twedt (Ectoplasmic Kitchen v01)
1989: Sept. IMAGINE TOKYO ‘89 - Sogetsu + Konica Galleries, Tokyo
1989: New Technology Artworks - Langford Gallery at Texas A&M U.
1989: July. Group Show: Los Angeles Munipical Gallery
1989: April Exhibition 48! Braithwaite Fine Arts Gallery Cedar City Utah
1988: Feb. Los Angeles Center for Photographic Studies LACPS Annual Members Exhibition @ Brand Library - Acevedo’s 1st public exhibition of Digital Prints: Ectoplasmic Kitchen & Metalogue.
1987: Sept. Earthquake Jam @ CSULA : Acevedo projects slides of his early computer art Ectoplasmic Kitchen Series as part of the Math Band live performance
1987: Oct. Community Redevelopment Agency: Art Waves Exhibition @ Grand Hope Park & LATC, LA, CA : Acevedo exhibits his CRA comissioned banner - which was his last acrylic painting ever.
1986: Rose Street Gallery DTLA - Acevedo shows various oil paintings
1986: March, UNCOMMON DENOMINATOR Group show at Virgil Gallery, New York City This being his exhibition debut in NYC - Acevedo shows his print called Vector Equilibrium Localized
1985: On the Threshold : EZTV + ACM SIGGRAPH/LA sponsored multi-media performance @ the Palace in Hollywood, CA. This event was co-produced by Bob Gelman, Joan Collins and Ron Hays. Included Digital Art print show curated by Acevedo
1985: Group show: Anti-club Gallery, Los Angeles, CA icludes print, Macro-Synapse Cuboctahedron Periphery
1984: Group show: Anti-club Gallery , Los Angeles, CA
1984: June, LACE Cotton Exchange Show, 106 W. 3rd ST. DTLA Acevedo shows Le Grande Slated Breakfast: Visceral Analytic
1982: Dec. Acevedo 2nd solo show: EPHEMERAL PAVILION @ Lhasa Club, Husdon Street, Hollywood, CA.
1982: May, Acevedo Genesis exhibition: 1st solo show: Triangulated Square One @ SHOFA Steve’s House of Fine Art (May 20-22)

CATALOGUES

2012: NMEDIAC: Vol. 8 No.1 includes Acevedo’s video “Day Dream”
2003: CG03: SIGGRAPH 2003 electronic art and animation
Includes Acevedo’s essay called ‘Why Digital Prints Matter’
2001: SILENT MOTION Digital Art group show in the UK
1998: SIGGRAPH98 electronic art and animation catalogue for ACM SIGGRAPH
1998: Homage to Escher - Group exhibition with Escher @ The M.C. Escher Centennial Congress in Rome - Museo Labortorio D’ Arte Contemporanea
1996: 4th ANNUAL DIGITAL SALON ‘96 SVA, NYC, NY Leonardo Journal Vol. 29 No. 5
1994: 2nd ANNUAL DIGITAL SALON ‘94 School of Visual Arts, NYC 1994: COMPUTERKUNST ‘94 Golden Plotter 1994 Gladbeck, DE
1993: FISEA 1993 Fourth International Symposium on Electronic Art MCAD Minneapolis, MN
1993: Art LA ‘93 : 8th International Los Angeles Art Fair - Acevedo’s work was included with the EZTV CyberSpace Gallery booth 128 Los Angeles Convention Center December 2-5
1991: Prix Ars Electronica: International Compendium of the Computer Arts - Dr. Hannes Leopoldseder / ORF Landesstudio
1990: ART 1990 - LA Chapter of ACM SIGGRAPH Curator: Patric Prince


REVIEWS

1998: Oct. “SIGGRAPH98 Art Show” by Lynn Pocock - ACM SIGGRAPH New York City Newsletter
includes a reproduction of Acevedo’s The Lacemaker
1997: Aug. “Digilantes Display their Lo Fi Struggle” Austin Bunn, WIRED NEWS Online
1997: Aug. “Digilantes Take Computer Art into own Hands at L.A. Museum” by Gary Luster - Micro Publishing News
1996: Nov. “Siggraph’s Digital Salon at The School of Visual Arts” - Flash Light, ASCI Website reviews
1994: Aug. “Underexposed” Pick of the Week by Peter Frank - LA WEEKLY - Los Angeles CA
1994: March “The Etchers Byte” Isabel Anderson - VISIONS ART QUARTERLY - Los Angeles CA
1994: Feb. “FISEA 93” - ART PAPERS - Atlanta, GA
1993: October 10 “Computer Art without Wizardry” Peter Frank - PRESS–TELEGRAM - Long Beach CA
1993: Friday October 1st “Creating Unlimited Visons” Nancy Kapitanoff - LOS ANGELES TIMES Valley Edition / Valley Life - includes Acevedo’s image called February 29, 1993 v01. This is a review of the digital art show at Lancaster Museum of Art
1992: Nov. “Unblinded by Science” Hart Hill - DENVER WESTWORD - Denver, Colorado
1992: February 27 “Is it Science or is it Art?” Pamela J. Tarchinsky - JOURNAL NORTH