b.1945, New York, NY
Lives and works in New York and Vermont
Beryl Korot is a pioneer of video art and of multiple channel work in particular. She was co-editor of Radical Software (1970), the first publication to discuss the possibilities of the new video medium. Her first multiple channel works—Dachau, 1974 and Text and Commentary—have been exhibited at The Kitchen (1975), Leo Castelli Gallery (1977), Documenta 6 (1977), the Whitney Museum of American Art (1980 and 2002), The Carnegie Museum (1990), The Aldrich Museum (2010), bitforms gallery (2012), The Whitworth Gallery, (2013), Museum Abteiberg (2013), Art Basel, Switzerland (2014), the ICA Boston (2014), and Tate Modern (2014). Korot's painted, text-based handwoven canvases, written in an original language of her own invention, were exhibited in 1986 at the John Weber Gallery and in 1990 at the Carnegie Museum.
Two collaborations with composer Steve Reich—The Cave (1993) and Three Tales (2002)—brought video installation art into a theatrical context. Both works continue to be performed throughout the world and were exhibited as video installations at venues including the Whitney Museum of American Art, the Carnegie Museum, Reina Sofia, the Dusseldorf Kunstverein, and ZKM.
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.
She is a Guggenheim Fellow (1994) and 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.