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Recognized since the early 1970s as a pioneer of video art and of multiple channel work in particular, Korot explores the physical mark of human history and programmatic structures of data. The rhythmic impulse in her compositions embraces text, weaving, and video.
Korot was co-editor of Radical Software, the first publication to discuss the possibilities of video in 1970, as well as Video Art, authored 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. Most recently, the Aldrich Museum of Contemporary Art presented a retrospective, “Beryl Korot: Text/Weave/Line – Video, 1977-2010”.
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, Hong Kong, Perth and New York and continue to be performed. In addition to performance venues The Cave was also a video installation at The Whitney Museum, the Carnegie Museum, The Musee d’Ascq, Lille, France, the Dusseldorf Kunstverein, the Reina Sofia, Madrid and the ICC Gallery in Japan.
Past exhibitions and screenings of Korot’s work also include: Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Kolnischer Kunstverein, Cologne; Musee des Beaux Arts, Montreal; 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; The Flaherty Seminar, 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. She was a Montgomery Fellow at Dartmouth College in 2000 and nominated with Steve Reich for a Wired Rave Award in 2003. Her artwork is part of private and public collections including the New Art Trust.[/two_third]