b. 1968, California, 1967, Seattle, U.S.; live and work in New York, U.S.

Jennifer and Kevin McCoy collaborate as digital media artists. Their work spans different mediums, including film, video, installation, and generative software. By integrating new technologies into their work, they explore the impact of these tools on both individual experiences and collective culture. The McCoys are influenced by the perspectives of renowned media theorist Lev Manovich, whose ideas shape their artistic practice. Their art delves into the intersection of personal experiences, new technology, mass media, and global commerce. Through interactive media, film, performance, and installation, they examine and challenge established genres, such as cinema, science fiction, and television narratives. Their artistic output takes various forms, including sculptural objects, net art, robotic movies, and live performances. One notable aspect of the McCoys' body of work is their database pieces. In these projects, they deconstruct series of films or TV shows, breaking them down into individual shots. They then categorize these shots using a unique classification system they have devised. This approach allows them to explore the underlying structures and patterns within visual storytelling.

Jennifer and Kevin McCoy's recent solo projects include Broker, Postmasters Gallery, New York (2016); Priests of the Temple, Rowe Art Gallery, Charlotte (2015); All Exit, Johansson Projects, Oakland (2014); Jennifer and Kevin McCoy, The Electronic Gallery, Salisbury (2014); Jennifer and Kevin McCoy, 1708 Gallery, Richmond, (2014); Twenty One Twelve, Postmasters Gallery, New York (2012); Abu Dhabi is Love Forever, Teaching Gallery, HVCC, Troy (2012); The Family Show, The Freedman Gallery at Albright College, Reading (2009); Traffic, Visualize, Carlew (2008); and Tiny, Funny, Big and Sad, British Film Institute Galleries Southbank, London (2007). Group exhibitions include Design and Violence, The Science Gallery, Dublin (2016); Wave/Particle Ronald Feldman, New York (2015); thingworld, The National Art Museum of China, Beijing (2014); ParaReal, 601 Artspace, New York (2013); Hors Piste, Pompidou Center, Paris (2013); and Automatic Update, curated from the collection by Barbara London, Museum of Modern Art (2007).

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