Carolyn Sortor explores systems, dimensionality, and sociopolitical relations using video, relational strategies, and other media. Her work has been shown in New York, San Francisco, Houston, Dallas, and elsewhere at venues including the Dallas Museum of Art, the Nasher Sculpture Center, and the Contemporary Art Museum of Houston. Her videos have won juror and audience awards, and in 2013 she received a Dallas Observer Mastermind award.

Recent projects have included Working Groups, a solo show at the MAC, Dallas in collaboration with Michael A. Morris; solo shows, Plied Pipes at The Reading Room, Dallas, and Position + Permeability (infrathin 32.782083 x -96.766809), at Beefhaus, Dallas; Thinker (2017), which won first prize in the Aurora Picture Show shorts festival; Brise Soleil, a performance for radio broadcast at Pollock Gallery, Southern Methodist University, in collaboration with Karen Weiner; curating the Dallas Medianale: Existential Virtuality (2015); Whose Secrets, which won both the juror and audience awards at Southern Colorado Film Festival, with an audio-only version in the sound art LP, Issue #6 of semigloss. Magazine (2015), presented at venues including the Contemporary Art Museum, Houston and the Nasher Sculpture Center, Dallas; creating the template for, coordinating, co-curating, and directing the first Expanded Cinema (2012), a program of new video art works created for the 999 x 193’ LED screen wrapping the Omni Dallas Hotel, with audio simulcast on KXT radio; art as social wormhole (2013-15), an “artificial MFA” course/reading group in aesthetic texts relating to art’s power to influence reality, at The Reading Room; and the OccuLibrary (2011-15), a rolling collaboration creating aesthetically-informed reincarnations of the libraries destroyed when Occupy camps were evicted across the U.S.

Her videos have also included Grace at Camp Casey (2005), on Cindy Sheehan's protest outside President Bush's ranch, which aired in a 6-month rotation on Current TV, and her Matthew Barney parody/homage, Creamistress 6: "The Centered Polenta" (2003). She also organized and co-curated The Program in 2008, and since 1992 has served the Video Association of Dallas in various curatorial and other leadership capacities.

Before becoming an artist, she worked as a commercial lawyer for twenty years. She is based in Dallas.