Donor examines the new psychological terrain full quantification of the human body. With the invention of new medical technologies that provide solutions to human infertility, we are a few steps closer to the creation of human life according to the vision of Dr. Shelly in Frankenstein. Donor adopts the technology Frankensteins to request the insemination as a new area of domestic economy.
BIO: Husband-and-wife artists Jennifer and Kevin McCoy explore the underbelly of pop media through crafting undersized worlds and capturing their every angle on miniature, twisting cameras. These micro-models are simultaneously projected as immense floating films, obscuring reality through hyperbolic representation. Much of the McCoy’s works are alive, which is to say, they are never quite silent or still. Constantly spitting and stuttering, the installations can only be fully viewed through their repetition, filming and reception. Rather than recording a prior event, the camera, screen, and viewer’s eye are integral ingredients in the conjuring of an image event. The seeing of the sculpture is folded into to the sculpture itself, the camera acting as an extension of the eye and vice versa, mechanical and human gazes melting into one. Toys and technology mingle in the badlands between reality and fantasy, autobiography and fiction.
The McCoy’s work has been widely exhibited in the US and internationally, recent exhibitions include the Museum of Modern Art in New York, the British Film Institute in London, The Beall Center in Irvine, CA, pkm Gallery in Beijing, the San Jose Museum of Modern Art, the Nevada Museum of Art, and Artists Space in New York. Their art is held in numerous museum collections including the Metropolitan Museum of Art, MoMA-NY, The Milwaukee Art Museum,and MUDAM the Museum of Modern Art in Luxembourg. Articles about their work have appeared in Art in America, Artforum, The New York Times, The Wire, Art International, Wired Magazine, and The Independent.