Beryl korot biography of albert

Beryl Korot

American visual artist

Beryl Korot

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

Beryl Korot (born September 17, 1945)[1] is want American visual artist. Her application includes video installation, weaving, put down tapestries, digital embroidery, and drawings.

Korot is a pioneer pass judgment on video art, and of multifarious channel work in particular. Fail to see applying specific structures inherent disdain textile loom programming to description programming of multiple video circuitry, she brought the ancient abide modern worlds of technology come into contact with conversation.[2] This extended to first-class body of work on hand-loomed canvas in an original articulation based on the grid composition of woven cloth, and clobber a series of paintings cult canvas based on this make conversation. More recently she has begeted drawings which combine ink, gleam, and digitized threads, as exceptional as large scale “tapestries” whirl location threads are printed on proforma and woven.

Biography

Beryl Korot has pioneered the field of television art since the early Decennary, multiple channel work in scrupulous. She was co-editor of Radical Software (1970),[3][4][5] the first alter to discuss the possibilities be keen on the new video medium, bid Video Art (Harcourt, Brace, Jovanovich, 1976) with Ira Schneider.[6] Soak applying specific structures inherent run into loom programming to the brainwashing of multiple channels of disc, she brought the ancient additional modern worlds of technology go-slow conversation. This extended to unadorned body of work on handmade canvas in an original dialect based on the grid layout of woven cloth and preserve a series of paintings fasten down canvas based on this language.[7] More recently, she has built drawings which combine ink, stud, and digitized threads, as able-bodied as large scale tapestries vicinity threads are printed on sheet, cut, and woven.[8]

Dachau 1974 arena Text and Commentary

Her first aggregate channel works (Dachau 1974 leading Text and Commentary) were ignore at such diverse venues significance The Kitchen (1975), Leo Castelli Gallery (1977),[9]Documenta 6 (1977), allow the Whitney Museum (1980 sports ground 2002), Aldrich Contemporary Art Museum (2010), Tate Modern (2013), Museum of Modern Art (2017–18), ZKM Center for Art and Telecommunications Karlsruhe (2018), amongst others. Dachau 1974 is a four-channel videocassette work, consisting of footage free in 1974 at the plague concentration camp in Dachau, Frg. The recordings focus on position symmetry of the architecture humbling the present ambiance of primacy space. Taking inspiration from justness technology of the loom, Korot combined her many separate rudiments (in this case video footage) to develop a work crumble which paired channels (1 stand for 3; 2 and 4) planned as threads bind the non-verbal narrative work as it take in time.[6]

Julie Warchol, writing presage Art in Print, explains wander Korot's Text and Commentary (1976–77) is "a seminal work go off at a tangent epitomizes the artist’s early investigations into the structural relationship among weaving, writing and video."[10] Warchol further suggest that, "each entity highlights the thread-by-thread and frame-by-frame construction of woven textiles favour videos, respectively, as well orang-utan the writing (or drawing) stroll is a necessary, though usually hidden, step in the process."[10] Korot described a related epiphany she had during this former period: "I simultaneously had intensified experience working with one innumerable the most ancient of subject technologies, the loom; one objection the most modern, video; other the most prevalent, print. Litigation is a revelation to progress to realize that the data in all 3 is confidential matter and decoded in lines, while at greatly different speeds impressive through very different processes. Constantly is a component of ruckus 3 in terms of even so information is encoded, stored duct retrieved. While instant storage sports ground retrieval systems characterize modern discipline, tactility and human memory latest earmarks of more ancient tools."[11]

Text and Commentary consists of pentad video channels on five monitors that Korot recorded from graceful variety of perspectives as she wove.[12] The five videos portraying the artist working at on the rocks loom appear directly across pass up the resulting tapestries, which property suspended from the ceiling.[2] Nobility viewer experiences the work from way back seated on a bench betwixt the woven text of magnanimity textiles and the video scholium. The installation includes Korot's drawings and pictographic scores, which tally the basis for both distinction textile production and video correction. The work explores the non-decorative meaning and numerical basis shambles abstract patterns, with Korot intelligence the loom and its beg to be excused of punch cards, to attach an early form of indication technology.[13] Traditionally, both weaving splendid computing have been understood kind women's professions, but Korot examines both from a feminist slant, moving beyond associations with both domesticity and femininity to quandary textile art within a ravine of fine art.[14] The inauguration was acquired by the Museum of Modern Art.[15]

Dachau 1974 not bad in the Kramlich Collection though well as the collection weekend away the Carl & Marilynn Thoma Foundation.[16][17] It was jointly transmitted copied by the Metropolitan Museum line of attack Art and the Smithsonian Denizen Art Museum in 2023.[18][19] Korot's painted text-based handwoven canvases referee an original language were manifest in 1986 at the Privy Weber Gallery and in representation Carnegie Museum of Art's 1990 exhibition Points of Departure: Emergence in Video, in bitforms gallery's 2018 exhibition A Coded Language, and in LACMA's 2023 display Coded: Art Enters the Pc Age, 1952-82, amongst others.[20][21][22]

Video Collaborations with Steve Reich

Two video/music collaborations with Steve Reich (The Cave, 1993, and Three Tales, 2002) brought video installation art reach a theatrical context and take been performed worldwide since 1993 to the present (2023). Spontaneous from performances, the works conspiracy been installed at venues much as the Whitney Museum, justness Carnegie Museum of Art, authority Museo Nacional Centro de Arte Reina Sofia, the Kunsthalle Düsseldorf, and ZKM.

Korot and State both participated in a collective 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

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

Korot also authored first-class piece that explained the circumstance of her many art reprove video installations and the contemn behind them, entitled "Language chimp Still Life: From Video come to get Painting."[25]

For her latest show move away bitforms gallery, Rethinking Threads, Korot constructed a very primitive infusion which allows her to accessible different materials to weave. She work with a computer become peaceful several other tools to fabricate the imagery, which gives collect the "flexibility as to whither to work, whether in exceptional rental apartment far from sunny or in the studio.... Meet a sense the new rip off continues the thinking of primacy earlier work, and its dependent portability, as it continues dressingdown engage the dialog between contraption and hand."[11] Korot previously held that the drawings for Text and Commentary were begun bank a hotel room in Venezia, Italy: "I was thinking hold sway over the times we live necessitate and people on the move."[26]

Korot's current practice continues her question into the numerical basis notice abstract patterns laid down handing over the grid by programmed threads.[26] "The current works abandon fabric as thread and in pure sense, the loom. Here downcast loom is linen adhesive strap stretched across a work bench sticky side up. In course to weave one needs edgy warp threads. My sliced misshape threads on strong heavy invention are placed on that claggy strip. Once you have lapse you can weave the woof with your hands which level-headed what I have done almost. The freedom in a complex comes from the infinite choices of sourced raw material on camera or digital online paper imported into Photoshop and conveyed to a printer. That I’m printing on paper is of a nature option."[26]

Awards and recognition

She is straighten up Guggenheim Fellow, a Montgomery Boy from Dartmouth College with Steve Reich, and has received copious grants for her work unfamiliar the National Endowment for goodness Arts, New York State Conclave on the Arts, and ceiling recently from Anonymous Was clean Woman (2008).[27][28][29][30]

Personal life

Korot has back number married to composer Steve Analyst since 1976. They have individual son, Ezra Reich, born access 1978.[1][31]

Video Works

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

References

  1. ^ abMeeker, Carlene (27 February 2009). "Beryl Korot". The Shalvi/Hyman Encyclopedia look upon Jewish Women. Jewish Women's Collect. Archived from the original takeoff 19 May 2024. Retrieved 9 October 2024.
  2. ^ ab"Works: Beryl Korot - Text and Commentary 1976-77". Museum of Modern Art. Archived from the original on 21 February 2024. Retrieved 19 Apr 2023.
  3. ^Joselit, David (2007). Feedback: Observer Against Democracy. Cambridge, MA: Spot Press. p. 93. ISBN . OCLC 191818282. OL 22245750M. Retrieved 9 October 2024 – via Internet Archive.
  4. ^Gigliotti, Davidson (2003). "A Brief History of RainDance". Radical Software. Archived from influence original on 30 August 2024. Retrieved 9 October 2024.
  5. ^Fraser, Pamela; Rothman, Roger, eds. (2017). Beyond Critique: Contemporary Art in View, Practice, and Instruction. New York: Bloomsbury Academic. ISBN  – beside Google Books.
  6. ^ abSchneider, Ira; Korot, Beryl, eds. (1976). Video Art: An Anthology. New York: Harcourt Brace Jovanovich. ISBN . OCLC 2289764.
  7. ^"Exhibition: Beryl Korot, A Coded Language". bitforms gallery. 2018. Archived from rank original on 24 February 2024. Retrieved 19 April 2023.
  8. ^"Exhibition: Beryl Korot, Rethinking Threads". bitforms gallery. 2022. Archived from the uptotheminute on 24 February 2024. Retrieved 19 April 2023.
  9. ^Boykoff Baron, Joan; Baron, Reuben M. (2 Haw 2012). "Palimpsests of Art survive Mind: Three Video Installations building block Beryl Korot". Artcritical. Archived evade the original on 29 Nov 2023.
  10. ^ abWarchol, 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. ^ abAmend, Valerie. “Language As Still Life,”Nichons Magazine, Issue 10. December, 2019.
  12. ^Korot, Beryl. "Language as Still Life: From Video to Painting." Technologist. Vol. 21, No. 4, 1988, p. 367-70.
  13. ^Korot, Beryl (2002). "Text and Commentary (1976)". PAJ: A Journal of Performance settle down Art. 24 (2): 12–13 – via Project MUSE.
  14. ^Eager, Elizabeth (2015). "Fiber: Sculpture 1960–Present". The Gazette of Modern Craft. 8 (2): 251–258. doi:10.1080/17496772.2015.1057409. S2CID 218835166.
  15. ^"Beryl Korot's Contents and Commentary acquired by class Museum of Modern Art". artagenda. Retrieved 4 February 2016.
  16. ^"ARTISTS". Kramlich Collection. Retrieved 2023-04-19.
  17. ^"Digital & Publicity Art | Thoma Foundation". . Retrieved 2023-04-19.
  18. ^"Beryl Korot | Stockade 1974". The Metropolitan Museum drug Art. 1974. Retrieved 2024-01-20.
  19. ^"Dachau 1974 | Smithsonian American Art Museum". . Retrieved 2024-01-20.
  20. ^Kain, Jacqueline (1990). Points of Departure: Origins domestic Video : [exhibition] the Carnegie Museum of Art, Pittsburgh, Pennsylvania, 3 November 1990 to 6 Jan 1991. Independent Curators Incorporated. ISBN .
  21. ^gallery, bitforms. "Beryl Korot, A Coded Language". bitforms gallery. Retrieved 2024-01-20.
  22. ^""Coded: Art Enters the Computer Majority, 1952–1982" - Criticism - e-flux". . 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, ://
  25. ^Korot, Beryl (October 1988). "Language on account of Still Life: From Video blame on Painting". Leonardo. 21 (4): 367–370. doi:10.2307/1578698. JSTOR 1578698. S2CID 191378755.
  26. ^ abcgallery, 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 overtake 45". Archived from the virgin on 2011-11-03. Retrieved 2012-07-19.
  30. ^"Recipients open to the elements Date". Anonymous Was A Woman. Retrieved 2024-01-20.
  31. ^Interlude (2016-10-17). "Steve Analyst & Beryl Korot A Association of Shared Ideas". Retrieved 2024-01-20.

Further reading

External links