Beryl Korot

b. 1945, New York, NY
Lives and works in New York, since 1969

Since the early 1970s, Beryl Korot has been recognized as a pioneer of video art and of multiple channel work in particular. She was co-editor of Radical Software, the first publication to discuss the possibilities of the new video medium in 1970, and co-edited Video Art: An Anthology with Ira Schneider in 1976. Her study of the technology of the loom, in 1974, marks a critical shift in her own investigations and played a significant role as a thinking tool in her subsequent video work.

Her first multiple-channel works, “Text and Commentary” and “Dachau 74”, are groundbreaking efforts that moved the video medium beyond the television’s frame and into a vocabulary of installation. By 1980, these and earlier works were featured at Dokumenta 6, The Kitchen, Leo Castelli Gallery, The Everson Museum, The Whitney Museum of American Art, among others and was featured in Video Viewpoints at the Museum of Modern Art. Later interested in painting and language development, Korot exhibited text based hand-woven canvases at the John Weber Gallery in 1986, and at the Carnegie Museum in 1990.

Bringing video art into a theatrical context, Korot began a collaborative period with composer Steve Reich in 1989. The Cave (1993) and Three Tales (2002) were first presented in major performance festivals throughout the world including London, Amsterdam, Paris, Vienna, Torino, Berlin, and Hong Kong. In 2011 and 2012 both works were revived in performances in Krakow, Strasbourg, Dresden, Cologne and Rome. Korot began creating a new body of video and print work in 2003.

In 2010 the Aldrich Museum of Contemporary Art produced the retrospective, “Beryl Korot: Text/Weave/Line – Video, 1977-2010”, which was followed by exhibitions that included Korot’s early installation work at bitforms gallery, New York (2012); The Whitworth Gallery, Manchester, UK (2013); Museum Abteiberg, Mönchengladbach, Germany (2013); Art Basel, Switzerland (2014); and the Tate Modern, London (2014). Past exhibitions and screenings of Korot’s work also include the Reina Sofia, Madrid; Metropolitan Museum of Art, New York; Dusseldorf Kunstverein; ICC Galleries, Tokyo; Museum of Modern Art, New York; Musee D’Ascq, Lille, France; Kolnischer Kunstverein, Cologne; Musée des Beaux Arts, Montréal; San Francisco Art Institute; Long Beach Museum; the Sao Paulo Bienial; Stedlijk van Abbemuseum, Eindoven; Boston Museum of Fine Arts; Henry Gallery, Seattle; Los Angeles County Museum; ZKM, Karlsruhe; Centro de Arte y Naturaleza in Spain; Apex Gallery, New York; and Jack Tilton Gallery, New York.

Korot is a Guggenheim Fellow and the recipient of numerous grants including The National Endowment for the Arts, Creative Artist Public Service Grants, New York State Council for the Arts, and Anonymous Was a Woman. Her artwork is part of private and public collections including the Kramlich Collection and New Art Trust.

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