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Jennifer and Kevin McCoy, CLEANER, 2019, 4K video, color, sound, 27 minutes 10 seconds.

Jennifer and Kevin McCoy, CLEANER, 2019, 4K video, color, sound, 27 minutes 10 seconds.

Jennifer and Kevin McCoy

Postmasters

When the textbook history of contemporary art at the turn of the twenty-first century is eventually written, Jennifer and Kevin McCoy will likely appear under the heading “From Critique to Creative Disruption.” Citing the magazine Adbusters, Naomi Klein’s No Logo (1999), and Nato Thompson’s The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life (2004), the chapter will explain how the critical postmodernism of the 1980s morphed into a neo-Situationism that advocated culture jamming and off-kilter annexations of public space. In part, this change flagged a reshuffling of art-school syllabi, with Roland Barthes and Jacques Lacan taking a back seat to Guy Debord and Michel de Certeau, but it also reflected a new, more playful sensibility. Artists such as Reverend Billy, Pope.L, and the Yes Men embraced humor and pranksterism while Jon Kessler, Rubén Ortiz-Torres,

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