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 is best known for her multiple channel video work in which she applies specific structures inherent to loom programming to the programming of multiple channels, constructing non-verbal narratives. Later, inventing a visual language based on the grid structure of handwoven canvas, Korot’s work illuminated what thought might look like devoid of specific meaning. In these, the armature of basic structure upholds meaning while being tightly bound to the qualities of the particular technology itself—from her video operas with music composed by Steve Reich, to her more recent video work, installation, drawing, and weaving.
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 is also 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 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); and the Wexner Center for the Arts, Columbus, OH (2015).
Other video installations and works have been exhibited at ZKM, Karlsruhe, Germany; Museo Nacional Centro de Arte Reina Sofía, Madrid; the Hood Museum, Dartmouth College, NH; Locks Gallery, Philadelphia, PA; Garage Museum of Contemporary Art, Moscow; and Historisches Museum, Frankfurt, Germany, among many others internationally.
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; the Carnegie Museum; Reina Sofía, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany; and ZKM.
Korot’s work is in both private and public collections. Text and Commentary was acquired by the MoMA, New York in 2015 and Dachau 1974 is in the Kramlich Collection’s New Art Trust, shared by SFMOMA, MoMA, and Tate Modern, as well as 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.