Beryl Korot is a pioneer of video art, multiple channel work in particular. By applying specific structures inherent to loom programming to the programming of multiple channels she brought the ancient and modern worlds of technology into conversation. This extended to a body of work on handwoven canvas in an original language based on the grid structure of woven cloth and to a series of paintings on canvas based on this language. More recently she has created drawings which com-bine ink, pencil and digitized threads, as well as large scale “tapestries” where threads are printed on paper and woven.
Two early multiple channel works, Dachau 1974 and Text and Commentary have been installed in exhibitions on both the history of video art and textiles. Her works have been seen at the Whitney Museum (1980,1993, 2000, 2002); the Kitchen, New York, NY (1975); Leo Castelli Gallery, New York, NY (1977); Documenta 6, Kassel, Germany (1977); the John Weber Gallery, NYC (1986);The Köln and Düsseldorf Kunstvereins (1989 and 1994); the Carnegie Museum, Pittsburgh, PA (1990); The Reina Sofia, Madrid, (1994); the Aldrich Contemporary Art Museum, Ridgefield, CT (2010); bitforms gallery, New York, NY (2012/2018); the Whitworth Gallery, Manchester, Eng-land (2013); Museum Abteiberg, Mönchengladbach, Germany (2013); Art Basel, Basel, Switzerland (2014), The Institute of Contemporary Art, Boston, MA (2014); Tate Modern, London, England (2014); Center for Media Art (ZKM), Karlsruhe Germany (2008/2017); The San Francisco MOMA (2016),The Museum of Modern Art, NYC 2018), Documenta Politik und Kunst, Deutsches Histor-isches Museum, Berlin (2021/22) amongst others.
Two video/music collaborations with Steve Reich—The Cave (1993) and Three Tales (2002)—brought video installation art into a theatrical context and have been performed worldwide since 1993.
Korot’s work is in both private and public collections including MoMA, NYC, the Kramlich collec-tion’s New Art Trust (shared with Tate Modern, MoMA NYC and SF MoMA), the Sol LeWitt Col-lection, the Thoma Art Foundation, and others. She is a Guggenheim Fellow, a Montgomery Fellow from Dartmouth College, a recipient of numerous grants from the New York State Council, the Na-tional Endowment for the Arts, and Anonymous Was a Woman.