SIGGRAPH 2027 will be held in Anaheim, California, 8–12 August 2027.
That is from the conference’s own site, and it matters because two different date ranges have been circulating in conference aggregators — the Anaheim dates above, and a late-July range in Los Angeles. The second one is wrong. If you have deferred a travel or submission decision because the dates were unclear, they are not unclear any more.
The site’s banner currently reads “Bookmark this page — submissions open soon!” The portal is not live. This is the window in which to prepare rather than submit.
The five tracks
SIGGRAPH 2027 organises itself around five areas, which is the useful thing to know before writing anything:
- Production & Animation
- Research & Education
- Arts & Design
- Gaming & Interactive
- New Technologies
The conference describes itself as spanning “AI, robotics, digital twins, immersive experiences, animation, and other innovations shaping disciplines around the world.”
For readers of this site, Arts & Design and New Technologies are the two that most often take work that is neither a research paper nor a studio production — installations, instruments, performance systems, the Art Gallery and Art Papers, and the Emerging Technologies strand where hardware prototypes get demonstrated to people who will actually prod them.
Worth being direct about something: SIGGRAPH has a reputation as a graphics-research and VFX-industry conference, and the art programmes are consistently among the strongest parts of it and consistently under-submitted by people who assume they would not fit.
The 2026 edition, for a sense of the scale and spread of the thing.
Who is running it
The conference is volunteer-led, and the 2027 leadership is now published.
Kristy Pron is Conference Chair. Her own committee biography is worth reading in full for its tone, but the relevant part is the track record: General Submissions Chair, Experience Hall Chair, Emerging Technologies Chair, a CAG member, Production Sessions contributor — and, as she puts it, “because fate has a sense of humor, the doomed 2020 Conference Chair,” the year the conference went online. She returned for 2027 on the basis of wanting to “try this again… but in-person.” She has spent almost eleven years at Walt Disney Imagineering.
The program chairs are Nathan Matsuda and Veronica Orvalho. The three of them discussed their plans for the conference on a recent episode of the SIGGRAPH Spotlight podcast, recorded live in Los Angeles — covering how the expanding reach of computer graphics is shaping the conference’s future, the evolving relationship between people and AI, and how contributors can shape the event through submissions and participation.
The committee page includes an invitation that is easy to miss and genuinely meant: if you want to learn more about a program or get involved, contact a program chair. For a volunteer-run conference, that is the actual route in.
What the Arts & Design end produces
A current illustration, published this week: ACM SIGGRAPH’s Digital Arts Community (DAC), together with Techspressionist Artists and LACDA, presented six collaborative works at SIGGRAPH 2026 in Los Angeles under the title New Media Techspressionist Architectures.
The exhibition continued the New Media Architectures series, using augmented reality, sound and interactive media to connect physical and digital environments, with Los Angeles treated as a living laboratory for how AI, data and algorithmic spatial infrastructures might reshape urban life. It was curated by Victoria Szabo and Gustavo Rincon, co-organised with Joshua Dickinson, Tuna Bora and Randi Matushevitz, and informed by a reading of Andrew Culp’s Dark Deleuze.
It also produced an album — Scenes in the Hyperreal — described as a snapshot of a living creative network, with composers spanning generations, continents and institutions, which streamed only during the dates of the exhibitions. A record that exists only while the show is open is a decent piece of thinking about what documentation is for.
That is the kind of thing that goes into the arts programme, and it is a reasonable benchmark for whether your own work would be at home there.
What to do in the next few weeks
Submissions open soon and the deadlines, once published, will be earlier than feels comfortable. Useful preparation now:
- Decide which track your work belongs in, and read that program’s requirements as soon as they appear. Different SIGGRAPH programs want very different materials — a paper, a video, an installation plan with power and floor requirements.
- Get your documentation in order. Art and Emerging Technologies submissions live or die on video. Shoot it before the deadline panic.
- Contact the relevant program chair if you are unsure whether something fits. They would rather answer that question than reject a misfiled submission.
- Bookmark the site, which is what it asks you to do, because the submissions announcement is how most people find out.
Other calls currently worth a look: the IRCAM Forum Workshops 2027 in Paris open registration on 23 October for the 24–26 March event, and BlenderNation’s animation contest with a $1,500 prize pool is accepting entries.
Sources
- SIGGRAPH 2027 — official site
- SIGGRAPH 2027 Committee
- SIGGRAPH Spotlight: Episode 109 — Live From Los Angeles with SIGGRAPH 2027 Leaders
- DAC at SIGGRAPH 2026: Exhibitions, Experiments, and Community Conversations — ACM SIGGRAPH Blog
- SIGGRAPH 2026: That’s a Wrap! — ACMSIGGRAPH on YouTube