This is the kind of art I can get behind …
Ever since moving to New York in 1996 — after earning master’s degrees from the cutting-edge program in electronic arts at Rensselaer Polytechnic in Upstate New York — the McCoys have been doing fine as academics. Jennifer’s a full professor of fine art at Brooklyn College; Kevin’s on his way to tenure at NYU. But their careers as artists took off in 2001, when they exhibited a piece called “Every Shot, Every Episode.”
Describe the project and it sounds like a dry exercise in academic deconstruction: The pair took a huge pile of footage from a single television show, then pulled it apart into its components. Almost a season’s worth of close-ups got burned onto one CD, while the establishing shots, zooms and pans were gathered onto others. Still other CDs collected all the shots of city streets, for instance, and other kinds of settings or props or characters. The artwork includes a little player and a screen mounted in a briefcase, “Man From U.N.C.L.E.”-style, and you’re invited to pop in any of the discs and watch as the disjointed imagery unfolds.
The genius and fun of the project lies in the show the McCoys chose.
Their carefully honed analytic skills were brought to bear on the ’70s trash of “Starsky & Hutch.”
Dip into the project’s 277 discs — as curators at the Metropolitan Museum of Art did a little while back, when they proudly put their McCoy on display — and you get to survey “Every Disguise,” or “Every Comic Criminal” or “Every Sexy Outfit.” A TV show that was painfully formulaic in the watching becomes a pleasure in this work of art, which is an almost comic celebration of its formulas, an appealing crazy quilt of trivialities.
Rather than crying out against how television constructs the modern self, or begging us to break free of its formulas, the McCoys invite us to revel in the medium’s absurdity. The “essential joke” of the piece, according to Jennifer, is its failure. It “critiques and laughs at the idea that those categories are sufficient to human experience.”
Despite the success of “Every Shot,” the McCoys soon began to move in another direction altogether.
Almost on a whim, and in the space of a week, they got a film crew and an actor friend to re-create a short chase scene from the horror classic “Evil Dead II,” which they shot and re-shot. Their pile of footage was then edited so it could be looped and scrambled, sped up and slowed down and reversed, ad infinitum, by a computer program of their own devising. Thanks to the McCoys, the poor slob will be fleeing forever, without escaping or getting caught but without ever precisely repeating his flight.
Check out the full story to learn more about their art and see a video of some of their projects (including the Evil Dead one).