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Beryl Korot

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Beryl Korot
Born(1945-09-17)September 17, 1945
NationalityAmerican
Known forVideo art

Beryl Korot (born September 17, 1945)[1] is an American visual artist. Her practice includes video installation, weaving, paper tapestries, digital embroidery, and drawings.

Korot is a pioneer of video art, and of multiple channel work in particular. By applying specific structures inherent to textile loom programming to the programming of multiple video channels, she brought the ancient and modern worlds of technology into conversation.[2] 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 combine ink, pencil, and digitized threads, as well as large scale “tapestries” where threads are printed on paper and woven.

Biography

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Beryl Korot has pioneered the field of video art since the early 1970s, multiple channel work in particular. She was co-editor of Radical Software (1970),[3][4][5] the first publication to discuss the possibilities of the new video medium, and Video Art (Harcourt, Brace, Jovanovich, 1976) with Ira Schneider.[6] By applying specific structures inherent to loom programming to the programming of multiple channels of video, 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.[7] More recently, she has created drawings which combine ink, pencil, and digitized threads, as well as large scale tapestries where threads are printed on paper, cut, and woven.[8]

Dachau 1974 and Text and Commentary

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Her first multiple channel works (Dachau 1974 and Text and Commentary) were seen at such diverse venues as The Kitchen (1975), Leo Castelli Gallery (1977),[9] Documenta 6 (1977), and the Whitney Museum (1980 and 2002), Aldrich Contemporary Art Museum (2010), Tate Modern (2013), Museum of Modern Art (2017–18), ZKM Center for Art and Media Karlsruhe (2018), amongst others. Dachau 1974 is a four-channel video work, consisting of footage taken in 1974 at the former concentration camp in Dachau, Germany. The recordings focus on the symmetry of the architecture and the present ambiance of the space. Taking inspiration from the technology of the loom, Korot combined her many separate elements (in this case video footage) to develop a work in which paired channels (1 and 3; 2 and 4) conceived as threads bind the non-verbal narrative work as it proceeds in time.[6]

Julie Warchol, writing for Art in Print, explains that Korot's Text and Commentary (1976–77) is "a seminal work that epitomizes the artist’s early investigations into the structural relationship between weaving, writing and video."[10] Warchol further suggest that, "each component highlights the thread-by-thread and frame-by-frame construction of woven textiles and videos, respectively, as well as the writing (or drawing) that is a necessary, though often hidden, step in the process."[10] Korot described a related epiphany she had during this time period: "I simultaneously had intensive experience working with one of the most ancient of communications technologies, the loom; one of the most modern, video; and the most prevalent, print. It is a revelation to me to realize that the information in all 3 is encoded and decoded in lines, though at greatly different speeds and through very different processes. Time is a component of all 3 in terms of how information is encoded, stored and retrieved. While instant storage and retrieval systems characterize modern technology, tactility and human memory remain earmarks of more ancient tools."[11]

Text and Commentary consists of five video channels on five monitors that Korot recorded from a variety of perspectives as she wove.[12] The five videos depicting the artist working at a loom appear directly across from the resulting tapestries, which are suspended from the ceiling.[2] The viewer experiences the work while seated on a bench between the woven text of the textiles and the video commentary. The installation includes Korot's drawings and pictographic scores, which are the basis for both the textile production and video editing. The work explores the non-decorative meaning and numerical basis of abstract patterns, with Korot understanding the loom and its use of punch cards, to be an early form of communication technology.[13] Traditionally, both weaving and computing have been understood as women's professions, but Korot examines both from a feminist perspective, moving beyond associations with both domesticity and femininity to place textile art within a canon of fine art.[14] The installation was acquired by the Museum of Modern Art.[15]

Dachau 1974 is in the Kramlich Collection as well as the collection of the Carl & Marilynn Thoma Foundation.[16][17] It was jointly acquired by the Metropolitan Museum of Art and the Smithsonian American Art Museum in 2023.[18][19] Korot's painted text-based handwoven canvases in an original language were exhibited in 1986 at the John Weber Gallery and in the Carnegie Museum of Art's 1990 exhibition Points of Departure: Origins in Video, in bitforms gallery's 2018 exhibition A Coded Language, and in LACMA's 2023 exhibition Coded: Art Enters the Computer Age, 1952-82, amongst others.[20][21][22]

Video Collaborations with Steve Reich

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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 to the present (2023). Apart from performances, the works have been installed at venues such as the Whitney Museum, the Carnegie Museum of Art, the Museo Nacional Centro de Arte Reina Sofia, the Kunsthalle Düsseldorf, and ZKM.

Korot and Reich both participated in a collaborative interview with writer Jonathan Cott. The article was titled "Modern Folk Tales and Ancient Stories: a Conversation with Beryl Korot and Steve Reich".[23]

Current Work

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Since 2003, she has been creating a new body of video and print work which was seen at Aldrich Contemporary Art Museum for the first time, in Beryl Korot: Text/Weave/Line, Video 1977-2010, and subsequently at Dartmouth College in Fall 2011, and at bitforms gallery in Spring 2012, among others.[24]

Korot also authored a piece that explained the development of her many art and video installations and the thoughts behind them, entitled "Language as Still Life: From Video to Painting."[25]

For her latest show at bitforms gallery, Rethinking Threads, Korot constructed a very primitive loom which allows her to use different materials to weave. She work with a computer and several other tools to generate the imagery, which gives her the "flexibility as to where to work, whether in a rental apartment far from home or in the studio.... In a sense the new work continues the thinking of the earlier work, and its relative portability, as it continues to engage the dialog between machine and hand."[11] Korot previously said that the drawings for Text and Commentary were begun in a hotel room in Venice, Italy: "I was thinking of the times we live in and people on the move."[26]

Korot's current practice continues her inquiry into the numerical basis of abstract patterns laid down on the grid by programmed threads.[26] "The current works abandon fiber as thread and in a sense, the loom. Here my loom is linen adhesive tape stretched across a work table sticky side up. In order to weave one needs taut warp threads. My sliced warp threads on strong heavy paper are placed on that adhesive strip. Once you have that you can weave the weft with your hands which is what I have done here. The freedom in a sense comes from the infinite choices of sourced raw material via camera or digital online files imported into Photoshop and sent to a printer. That I’m printing on paper is one option."[26]

Awards and recognition

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She is a Guggenheim Fellow, a Montgomery Fellow from Dartmouth College with Steve Reich, and has received numerous grants for her work from the National Endowment for the Arts, New York State Council on the Arts, and most recently from Anonymous Was a Woman (2008).[27][28][29][30]

Personal life

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Korot has been married to composer Steve Reich since 1976. They have one son, Ezra Reich, born in 1978.[1][31]

Video Works

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  • Invision, Lost Lascaux Bull, Dishes, Berlin Bees, 20 mins., 1973/4.
  • Dachau 1974, 4 channel video installation work, 23 mins., 1974/75.
  • Text and Commentary, 5 channel video installation work with 5 weavings, pictographic notations, 5 drawings, 33 mins., 1976/77.
  • The Cave, a video opera in 3 Acts, music by Steve Reich, 120 mins., (1993).
  • Sarai, Abram’s Wife, 3 video screen, 3 channel work, 1990.
  • Departure from Bikini, 2 minutes, silent, (1991)
  • Three Tales, a video opera, music by Steve Reich, 64 mins., 2002.
  • Hindenburg, music by Steve Reich, 4 mins., 1997.
  • Yellow Water Taxi, 2 mins., 2003.
  • Vermont Landscape, 4 mins., 2004.
  • Pond Life, 5 mins., 2005.
  • Babel: the 7 minute scroll, 7 minutes, 2006
  • Florence, 10+1⁄2 minutes, 2008.
  • Etty, 12 minutes, 2009/10.
  • Weaver's Notation - Variations 1 and 2, digital embroideries, 2012.

References

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  1. ^ a b Meeker, Carlene (27 February 2009). "Beryl Korot". The Shalvi/Hyman Encyclopedia of Jewish Women. Jewish Women's Archive. Archived from the original on 19 May 2024. Retrieved 9 October 2024.
  2. ^ a b "Works: Beryl Korot - Text and Commentary 1976-77". Museum of Modern Art. Archived from the original on 21 February 2024. Retrieved 19 April 2023.
  3. ^ Joselit, David (2007). Feedback: Television Against Democracy. Cambridge, MA: MIT Press. p. 93. ISBN 9780262101202. OCLC 191818282. OL 22245750M. Retrieved 9 October 2024 – via Internet Archive.
  4. ^ Gigliotti, Davidson (2003). "A Brief History of RainDance". Radical Software. Archived from the original on 30 August 2024. Retrieved 9 October 2024.
  5. ^ Fraser, Pamela; Rothman, Roger, eds. (2017). Beyond Critique: Contemporary Art in Theory, Practice, and Instruction. New York: Bloomsbury Academic. ISBN 9781501323447 – via Google Books.
  6. ^ a b Schneider, Ira; Korot, Beryl, eds. (1976). Video Art: An Anthology. New York: Harcourt Brace Jovanovich. ISBN 9780151936328. OCLC 2289764.
  7. ^ "Exhibition: Beryl Korot, A Coded Language". bitforms gallery. 2018. Archived from the original on 24 February 2024. Retrieved 19 April 2023.
  8. ^ "Exhibition: Beryl Korot, Rethinking Threads". bitforms gallery. 2022. Archived from the original on 24 February 2024. Retrieved 19 April 2023.
  9. ^ Boykoff Baron, Joan; Baron, Reuben M. (2 May 2012). "Palimpsests of Art and Mind: Three Video Installations by Beryl Korot". Artcritical. Archived from the original on 29 November 2023.
  10. ^ a b Warchol, Julie (2017). "Review of Curves I, Curves II and Curves III, Korot Beryl". Art in Print. 6 (6): 14. ISSN 2330-5606. JSTOR 26408753.
  11. ^ a b Amend, Valerie. “Language As Still Life,” Nichons Magazine, Issue 10. December, 2019. https://bitforms.art/pdfs/bibliography/korot/2019NN10_bilingual.pdf
  12. ^ Korot, Beryl. "Language as Still Life: From Video to Painting." Leonardo. Vol. 21, No. 4, 1988, p. 367-70. https://bitforms.art/pdfs/bibliography/korot/1988Leonardo.pdf
  13. ^ Korot, Beryl (2002). "Text and Commentary (1976)". PAJ: A Journal of Performance and Art. 24 (2): 12–13 – via Project MUSE.
  14. ^ Eager, Elizabeth (2015). "Fiber: Sculpture 1960–Present". The Journal of Modern Craft. 8 (2): 251–258. doi:10.1080/17496772.2015.1057409. S2CID 218835166.
  15. ^ "Beryl Korot's Text and Commentary acquired by the Museum of Modern Art". artagenda. Retrieved 4 February 2016.
  16. ^ "ARTISTS". Kramlich Collection. Retrieved 2023-04-19.
  17. ^ "Digital & Media Art | Thoma Foundation". thomafoundation.org. Retrieved 2023-04-19.
  18. ^ "Beryl Korot | Dachau 1974". The Metropolitan Museum of Art. Retrieved 2024-01-20.
  19. ^ "Dachau 1974 | Smithsonian American Art Museum". americanart.si.edu. Retrieved 2024-01-20.
  20. ^ Kain, Jacqueline (1990). Points of Departure: Origins in Video : [exhibition] the Carnegie Museum of Art, Pittsburgh, Pennsylvania, 3 November 1990 to 6 January 1991. Independent Curators Incorporated. ISBN 978-0-916365-31-8.
  21. ^ gallery, bitforms. "Beryl Korot, A Coded Language". bitforms gallery. Retrieved 2024-01-20.
  22. ^ ""Coded: Art Enters the Computer Age, 1952–1982" - Criticism - e-flux". www.e-flux.com. Retrieved 2024-01-20.
  23. ^ Cott, Jonathan. "Modern Folk Tales and Ancient Stories: a Conversation with Beryl Korot and Steve Reich".
  24. ^ Philbrick, Harry. Video: Text/Weave/Line. Beryl Korot. 2011, Dartmouth.https://bitforms.art/pdfs/bibliography/korot/2011Dartmouth.pdf
  25. ^ Korot, Beryl (October 1988). "Language as Still Life: From Video to Painting". Leonardo. 21 (4): 367–370. doi:10.2307/1578698. JSTOR 1578698. S2CID 191378755.
  26. ^ a b c gallery, bitforms. "Beryl Korot, Rethinking Threads". bitforms gallery. Retrieved 2024-01-20.
  27. ^ "Beryl Korot". John Simon Guggenheim Memorial Foundation... Retrieved 2024-01-20.
  28. ^ "Beryl Korot". The Montgomery Fellows. 2016-12-29. Retrieved 2024-01-20.
  29. ^ "Past Award Winners - Supporting women artists over 45". Archived from the original on 2011-11-03. Retrieved 2012-07-19.
  30. ^ "Recipients to Date". Anonymous Was A Woman. Retrieved 2024-01-20.
  31. ^ Interlude (2016-10-17). "Steve Reich & Beryl Korot A Relationship of Shared Ideas". Retrieved 2024-01-20.

Further reading

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Wikiquote has quotations related to Beryl Korot.
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