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Artist Presentation: Beryl Korot
Artist's Work cont'd
Artist's work
Text and Commentary
The Cave
Babel: The Seven Minute Scroll
- Korot & Steve Reich
- a video opera in 3 acts
- Korot
- 5 channel video installation work w/ 5 weavings, pictographic notations, 5 drawings
Etty
Radical Software
- Korot
- single channel HD video
- Korot
- single channel video
Three Tales
Beryl Korot
- Korot & Reich
- a video opera
2012
1998
2008
1980
1974
2003
2002
1970-74
2007
1993
2009-2010
1976/77
Lawrence Tang
Hindenburg
Weaver's Notation
Babel 2
Yellow Water Taxi
Dachau
- Korot & Reich
- video opera (act 1)
Florence
- Korot
- digital embroidery & inkjet on photo rag
- Korot
- oil painting on handwoven canvas
- Korot
- single channel video
- Korot
- 4 channel video installation work
Artist's Influences
CV
Steve Reich
Radical Software
Ira Schneider
Sony Portapak
Technology
Background Info
Awards/Membership
- non-demoninational observant jew
- lives in Vermont and NY city
Korot is a Guggenheim Fellow and the recipient of many grants, such as: The National Endowment for the Arts, Creative Artist Public Service Grants, New York State Council for the Arts, and Anonymous Was a Woman
Biography
- known as a pioneer of video art since early 1970's
- co-editor of Radical Software, the 1st publication to study video's possibilities
- her first multiple-channel works, “Text and Commentary” and “Dachau 74”, moved the medium of video beyond the television’s frame
- Korot collaborated with composer Steve Reich in 1989
Shows
Education
INFLUENCES!!!
- University of Wisconsin (2 yrs)
- Queens College, 1967 w/ BA in English literature & minor in art history
SOLO EXHIBITIONS
2012 bitforms gallery, New York. Selected Video Works: 1977 to Present
2011 Dartmouth College, Jaffe-Hopkins and Strauss Galleries, Hanover NH. Beryl Korot: Video -
Text/Weave/Line (catalog)
2010 Aldrich Contemporary Art Museum, Ridgefield CT. Beryl Korot: Text/Weave/Line, 1977-2010
2002 The Jewish Museum, Paris. The Cave
1997 ICC Galleries, Tokyo. The Cave
1995 North Dakota Museum of Art, Grand Folks, ND. The Cave
1994 Reina Sofia, Madrid, Spain. The Cave
Dusseldorf Kunstverein, Dusseldorf, Germany. The Cave
Musee D’Ascq, Lille, France. The Cave
Carnegie Museum, Pittsburgh, PA. The Cave
1993 Whitney Museum of American Art, New York. The Cave
1986 John Weber Gallery, New York. Language as Still Life
1980 Whitney Museum of American Art, New York. Two Video-Installations
1979 Everson Museum of Art, Syracuse NY. Text and Commentary
1977 Leo Castelli Gallery, New York. Text and Commentary
1976 Hartwick Center for the Arts, Oneonta, NY, Dachau 1974
1975 Everson Museum of Art, Syracuse NY. Dachau 1974
1974 The Kitchen, New York. Dachau 1974
Evolution
Socio-Political
Artistic
Influences
- her works involve text, weaving, and video
- puts video art in a theatrical context
- pioneer of multiple channel video work
- Holocaust
- World War 2
- First Gulf War
Currently working on video paintings
- Radical Software was the 1st magazine to explore the concept of alternative communication systems
- Steve Reich is a composer and Korot's husband
- the Sony Portapak was the start of something new
Dachau, Text and Commentary, The Cave, Three Tales
Collaborated with Steve Reich
Cofounded Radical Software
Pop Cultural
Biographical
Dolly, the world's first cloned sheep
- born on Yom Kippur
- was part of an artist community, the Raindance Corporation, dedicated to bring video & cybernetic thinkers together
- has one son, Ezra Reich, who was born on August 13, 1978
"Korot's accompanying video montage uses mostly apt but occasionally banal images and graphics to illustrate the score or italicize its irony."
-- Ted Shen
"Ideally, the images and music would match, but Korot’s work in this case was not as innovative as the music. While her images presented a clean-cut visual accompaniment to Reich’s score it all seemed to lack visual imagination. Maybe less is more for Korot, but choices like using typewriter font seemed almost too plain and mechanical."
-- Kila Packett
http://jwa.org/encyclopedia/article/korot-beryl
"As I mentioned before, Dachau 1974 was a rhythmic work in multiple channels, as was Text and Commentary (1977) which followed. By blowing up the monitors to projection screens, by placing them in an arched shape and building a set around them for placement of musicians and singers, the video actually became the mise en scene for the entire work and took what I had done in museums and placed it in the performance space." -- Beryl Korot