b.1945, New York, NY
Lives and works in New York and Vermont
Throughout her lifelong practice, Beryl Korot has brought the ancient and modern worlds of technology into conversation. An early figure in the history of video art, Korot was first known for her multiple channel video work in which she applied specific structures inherent to loom programming to the programming of multiple channels, constructing non-verbal narratives. Later, she invented a visual language based on the grid structure of handwoven canvas. Translating texts into her own language, she illuminated what thought might look like devoid of specific meaning. The sources for much of her work reach back to the technology of the ancient world, whether the technology of the loom or of writing itself. In her work, there is both the visualization of an interior landscape based on language and a spotlight on the intersection between technology and thought.
Co-founder and co-editor of "Radical Software" (1970-1974), the first publication to discuss the technical and formal
possibilities of the new medium, Korot was also co-editor of "Video Art: An Anthology," published in 1976. Her first multiple channel works—"Dachau," 1974 (1974) and "Text and Commentary" (1976-1977)—have been exhibited at The Kitchen, New York, NY (1975); Leo Castelli Gallery, New York, NY (1977); Documenta 6, Kassel, Germany (1977); the Whitney Museum of American Art, New York, NY (1980, 2002); The Koln Kunstverein (1989), the Carnegie Museum of Art, Pittsburgh, PA (1990); the Aldrich Contemporary Art Museum, Ridgefield, CT (2010); bitforms gallery, New York, NY (2012); the Whitworth Gallery, Manchester, England (2013); Museum Abteiberg, Mönchengladbach, Germany (2013); Art Basel, Basel, Switzerland (2014); the Institute of Contemporary Art, Boston, MA (2014); Tate Modern, London, England (2014); the Wexner Center for the Arts, Columbus, OH (2015); and SFMOMA, San Francisco, CA (forthcoming, 2016).
Other video installations and works have been exhibited at the Hood Museum, Dartmouth College, NH; Locks Gallery, Philadelphia, PA; Garage Museum of Contemporary Art, Moscow, Russia; and Historisches Museum, Frankfurt, Germany, among many others. Two collaborations with composer Steve Reich—"The Cave" (1993) and "Three Tales" (2002)—brought video installation art into a theatrical context and toured worldwide. Both works continue to be performed and were exhibited as video installations at venues including the Whitney Museum; the Carnegie Museum; the Reina Sofía in Madrid, the Kunstverein in Düsseldorf, Germany; and ZKM in Karlsruhe, Germany.
Korot’s work is in both private and public collections. Text and Commentary was acquired by the Museum of Modern Art, New York in 2015 and Dachau 1974 is in the Kramlich Collection’s New Art Trust, shared by SFMOMA, MoMA, and Tate Modern, and is in the Thoma Foundation art collection. A Guggenheim Fellow (1994), Korot is the recipient of numerous grants including The National Endowment for the Arts and Anonymous Was a Woman (2008). In 2000, she was a Montgomery Fellow at Dartmouth College with Steve Reich and in 2011 she was an Artist in Residence at Dartmouth College.