Opening Reception: September 14th 7:00pm-10:00pm
With a Music Performance by Kevin Corcoran
Closing Reception: October 13th 2:00pm-6:00pm
Gallery Hours Tuesdays and Thursdays 1:00pm-6:00pm
Jesse Drew’s work is centered on the theory and practice of alternative and community media and their impact on democratic societies. His visual work has been exhibited internationally and his writings have appeared in numerous publications and journals as well as several anthologies, including Resisting the Virtual Life (City Lights Press), Reclaiming San Francisco: History, Politics, Culture (City Lights Press), At a Distance (MIT Press) and Collectivism After Modernism (University of Minnesota). He is currently a professor of Cinema and Technocultural Studies at UC Davis.
Glenda Drew creates visual projects that include layers of oral history, image and text. From 3D viewmaster reels to scratch-and-sniff trading cards, from live cinema to documentary, Drew’s projects create messages that contribute new ways of looking at history, culture and meaning. The primary themes in Drew’s work include social justice for underserved populations, immigrant labor, and the interplay of technology with culture. She is currently a professor in the Department of Design at University of California, Davis.
Jesse Drew on “Winter in America 1974-1975:”
Gil Scott Heron’s song ‘Winter in America’ became a theme for me in 1974-75 and crystallized what America meant for many in the years when the euphoria of the 1960s lay crashed and burned, as the U.S. lost its supremacy in the world and the nation was wracked by unemployment, an oil and gas shortage, urban decay, and defeat in Vietnam. As a teenage runaway in the early 1970s, I was very involved in political movements of the day and lived mostly in communes in New England and California. When this communal infrastructure collapsed in the mid-1970s, I set out to see if there was still a utopian pulse to be found in America. Hitchhiking, and when possible, traveling by Greyhound Ameripass, I moved up and down the East Coast, through the Midwest, and ultimately out to California in search of an American revolution, taking photographs when I could. I traveled to Buffalo, NY in the aftermath of the Attica prison revolt; to Washington, D.C. where tens of thousands protested unemployment; to South Boston where people still fought the last major segregated urban school district; and out to California during the upsurge in Central Valley farmworker militancy. I was primarily interested in the masses of people, and mostly focused on the crowd. The resulting photographs resonate eerily with our current time in many ways. Like today, 1974-1975 was a time of great crisis in the U.S., with a strong recession, an energy crisis, a failed war, increasing levels of poverty and uncertainty, and—despite the gloom—a growing political movement that sought to provoke hope and inspire change. Amidst our current renewal of rebellion and occupation, I find the song ‘Winter in America’ to be more relevant than ever.
Glenda Drew on “Food for Thought”:
Food for Thought is a series of visual works exploring the topic of labor in the US food system and includes a motion-based, asynchronous gallery of contemporary food service workers from a wide gamut of restaurant establishments. We are invited to hear the concerns, hopes and dreams of people who hoist the trays, clear the tables and wash the dishes. The production, distribution and consumption of food is so essential, so basic, and yet so routinized as to be largely taken for granted in large industrialized nations. In recent years American consumers have become more conscious of the health aspects of food, as typified in the organic food movement, and the aesthetic consumption of food, as popularized by the “slow food” movement. Turning the Tables is part of a larger body of work by the artists to render visible the often invisible human labor embodied in the modern food system. Food for Thought goes behind the lunch counter and through the kitchen doors to invite those working there to the table.