He has received two Fulbright Senior Specialist fellowships to conduct research and teach at the Kwame Nkrumah University of Science and Technology in Kumasi, Ghana where he is also an adjunct professor in Visual Arts and Animation.
He was a student of the pioneering video artist Nam June Paik, and of Alison Knowles, Gene Youngblood, and Allan Kaprow, among others.
[2] His contributions included early coverage of Shirley Clarke’s T. P. Videospace Troupe’s traveling video workshop.
[19] Because experimental video was a new visual form, RASTER opened with a message from Gorewitz reassuring viewers that while they might be seeing something “unusual”, what was on the screen would “neither harm them nor their [television set].”[20] From 1977 to 1981, Gorewitz was a guest curator at The Kitchen in New York City, organizing exhibitions, panels, and screenings highlighting video art as well as "work being done by artists with prototype and often homemade analog and early digital computers".
[23] In 2015, Gorewitz’s work was included in a retrospective exhibition on the history of the ETC, which was considered "one of North America’s preeminent organizations for video art, fostering a community for creativity and innovation through its residency and tool-building programs" for over forty years.
[28][29][30] Working with students and artists in the Bronx, Gorewitz notes, We often went to the local parks and videotaped break dancing, verbal games, and community events.
When the United States invaded the small Island of Grenada, I made a link to the sometimes violent policing I’d seen around the Museum.
At the Experimental Television Center...I sequenced several channels of video at a rapid speed to mix scenes of break dancing in the park with well-known archival footage of police violently attacking peaceful protestors.
[9][7] In a review of the 1983 Biennial, New York Times art critic Grace Glueck writes of the artist’s work, "Mr. Gorewitz takes us on a euphoric cross-country romp, in which trees, factories, street signs, railroad tracks, cars and other landscape furnishings are image-processed almost to abstraction, the rhythmic results enhanced by 'live' sounds and a rollicking score.
[4] Gorewitz traveled to Morocco to capture Melehi’s "universe and iconography", creating an artful and informative documentary on the painter’s practice.
[41] Gorewitz produced a documentary with Rachel Hadas and Edouard Eloi on the life of the Haitian painter Stivenson Magloire.