Beryl Korot

Beryl Korot has been recognized since the early 1970s as a pioneer of video art and of multiple channel work in particular.  These works, and recent ones, continue to be exhibited. Since 2010 Text and Commentary, a 5 channel work, has been seen at the Aldrich Museum, bitforms galley (NYC), the Whitworth gallery (UK), and the Abteiberg Museum (Germany) as part of an ongoing traveling exhibition.  The 4 channel Dachau 1974 will be exhibited at the Tate Modern in Spring 2014.

Korot was co-editor and co-founder of Radical Software, the first publication to discuss the possibilities of video from 1970- 1974, as well as Video Art, co-edited 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.

Early single channel works were seen at the Whitney Biennial (1975), the Kennedy Center "Art Now"(1974) , the Sao Paulo Bienial (1975) The Finch College Museum (1972), and Open Circuit, a traveling exhibition curated by David Ross.  In the Fall, 1993, these early tapes were included as part of a new touring exhibition sponsored by ICI in New York City called "The First Generation: Women in Video 1970-75." In 1972, with a grant from America the Beautiful Fund, she conducted the first cablecast to the town of Saugerties, New York with a group of high school students.

“Text and Commentary” and “Dachau 74”, were part of a small group of groundbreaking works that moved the video medium beyond the television’s frame into a vocabulary of installation. By 1980, these and earlier works were featured at Documenta 6, The Kitchen, Leo Castelli Gallery, The Everson Museum, The Whitney Museum of American Art, among others and were featured in Video Viewpoints at the Museum of Modern Art.Additionally they were installed at the following venues:  Massachusetts College of Art (1999), Kolnischer Kunstverein, Koln (1989) Neuen Berliner Kunstverein (1989), Kunsthaus Zurich (1989), Carnegie Museum of Art, Pittsburgh, Pa. (1990), The Jewish Museum of Art, NYC (1988), Long Beach Museum of Art, CA. (1988), Musee des Beaux Arts, Montreal (1980), San Francisco Art Institute (1981).

Between 1980 and 1988 she devoted herself fulltime to creating works on handwoven and traditional linen canvas. These were paintings based on a language she created which were an analog to the Latin alphabet. A room in this abstract language was created illuminating the Babel story, as well as other texts. Some of these works were seen at The Carnegie Museum (1990), and in solo exhibition in the Project Room, John Weber Gallery (1986, NYC). Also, in 2011 at Regina Rex Gallery in Bushwick, Brooklyn.

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. Since 2011 they have been performed in Krakow and Berlin, among other venues by Ensemble Modern. 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 and Act 1 of Three Tales, Hindenburg, was presented in the Whitney Museum's  20th Century Exhibition and at the Historisches Museum in Frankfurt, Germany.

From 2003 Korot began a new body of work first exhibited in 2010 at the Aldrich Museum of Contemporary Art: “Beryl Korot: Text/Weave/Line - Video, 1977-2010”, to be followed in 2011 to 2013 by exhibitions at Dartmouth College in the Jaffe Friede Gallery, the Locks Gallery in Philadelphia, bitforms gallery in NYC, the Whitworth Gallery in Manchester, UK, and the Museum Abteiberg in Germany.

Over the past twenty five years she has received numerous grants from the National Endowment on the Arts (1975, 77, 79), the New York State Council on the Arts (1973-4, 1978) the Creative Artists Public Service Fund (l972, 1975 and 1978) and for her work on The Cave with Steve Reich from The Rockefeller Foundation, The Andy Warhol Foundation, the National Endowment on the Arts, and The Nathan Cummings Foundation. In 1994 she was awarded a fellowship from the Guggenheim Foundation. For her new work with Steve Reich, Three Tales, foundation support has been received from the National Endowment for the Arts and The Rockefeller Foundation. In March/April, 2000, she and Steve Reich were Montgomery Fellows at Dartmouth College. Her video work is in the Kramlich collection, and part of the New Art Trust (of MOMA, NYC, the Tate Modern in London, and SFMOMA), as well as in the collection of the Hood Museum. In 2008 she received a grant from Anonymous was a Woman.