History of cyberspace gallery

Co-founded by EZTV’s Michael J. Masucci and historian/curator Patric Prince in 1992. Other key individuals in its creation include Victor Acevedo, ia Kamandalu, Michael Wright and intern Lisa Tripp.
CyberSpace Gallery was clearly among the world’s first galleries dedicated to digital art.
A logical extension of EZTV’s almost decade-long commitment to a true curatorial discourse and presentation on computer art, it became an instant focal point for a greater public awareness and recognition of the desktop digital revolution.
Although EZTV was not the very first place in Los Angeles to ever display computer art, and international conferences such as SIGGRAPH gave an annual week-long survey of leading trends in the field, EZTV and CyberSpace Gallery was arguably LA’s first on-going venue for its routine exhibition. And without question, Southern California’s ‘ground zero’ for the transition from desktop analog to desktop digital production.

As the routine meeting for places for many of the core digital art organizations, such as LA-SIGGRAPH (which held its first collaboration with EZTV in 1984), and with guest organizations such the Visual Music Alliance, International Synergy, Electronic Cafe International, and a collaborator in seminal events such as On the Threshold (1985) and the CyberArts International Conferences (1990-2), and several years of San Francisco’s Digital Be-In, EZTV and CyberSpace Gallery was the dedicated venue for LA’s digital revolution.

CyberSpace Gallery opening 1992

In the late 1980′s and well into the 1990′s, digital art was segregated from so-called ‘traditional media’. There may be many explanations for this, but according to Michael J. Masucci, it was likely due to the relative ease of duplication of digital art, which potentially made it less ‘valuable’ to art collectors.

CyberSpace gallery received critical press attention in the LA Times, LA Weekly, LA Reader and other media outlets. Quickly, it became the definitive curatorial voice for the routine public exhibition of computer and electronic art in the country. It set the standard by which all subsequent digital art galleries replicate.
More importantly, perhaps, was the public’s support of its exhibitions, which were among the best attended of all EZTV-related events.
EZTV had been a very early adopter of the creative use of the internet, well before the invention of the world wide web, staging its first live, international internet-based event in 1987. Following that, EZTV operated a BBS dedicated to independent media news, and announcements.

Peter Lunenfeld, PH.D, a media theorist then affiliated with LACPS, programmed a show called Pictures from the Hyperworld.

Dr. Timothy Leary had been an early supporter of Michael Masucci and ia Kamandalu’s efforts, and played the role of god, in their 1992 collaboration with Zina Bethune, as part of the finale of the three-year CyberArts International Conferences.

In 1993, he began a series at EZTV in conjunction with CyberSpace Gallery called “How to Operate Your Brain”.
After presenting occasional online events since 1987, in 1995, artist Mark Gash offered to create EZTV’s first true website, which included CyberSpace Gallery. This was among the world’s very first online galleries, and a very early example of one dedicated to digital art. It became an early Yahoo! “Site of the day”, and was include in Yahoo!’s book “Yaholligans!”.

"How to Operate Your Brain"
  live multi-media series, 1992

CyberSpace presented a number of live/multimedia events.
CyberSpace gallery’s last official group art exhibition was part of the AFI’s 20th anniversary tribute to EZTV in 1999 as well as part of DV Expo’s tribute to EZTV that same year.
In the early 2000′s, Patric Prince generously donated her important computer art archives to the Victoria and Albert Museum, in London.
When EZTV moved to 18th Street Art Center in 2000, it held several special CyberSpace Gallery shows, including an exhibition by Michael Wright & Victor Acevedo called “Digital Duality” (2002) as well as “Hacking the Timeline” (2005 & 2011).
Today most, if not all working artists, utilize computers or other digital devices in some part of their art practice.