Gordon Biersch Brewery Restaurant
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Tuesday, September 13, 2011
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| Gordon Biersch Kansas City, Missouri |
The Power & Light District is a shopping and entertainment district in Downtown Kansas City, Missouri, developed by the Cordish Company of Baltimore, Maryland and designed by Beyer Blinder Belle and 360 Architecture. The district comprises nine blocks on the south side of the downtown loop. It is located between Baltimore Avenue to the west, Grand Boulevard to the east, 12th Street to the north, and Interstate 670 to the south. The $850 million "mixed-use" district is one of the largest development projects in the Midwestern United States The Power & Light District is one of only a few places in the United States where possession and consumption of open containers of alcoholic beverages are allowed on the street, although they remain prohibited on the street throughout the rest of Kansas City. The Power & Light District is immediately to the west of the Sprint Center.
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Explore an Arctic Wonderland
# Thursday, December 02, 2010
CALIFORNIA ACADEMY OF SCIENCES
Digital Fusion Media, Inc. produced and installed the Academy’s Piazza holiday graphics.
Inside the Academy’s Piazza, festive décor awaits, along with an igloo presentation dome, holiday craft activities, and a stage for special presentations and shows each day.
Indoor snow flurries will dust the Piazza throughout the day, against a backdrop of stunning photographs by Arctic National Wildlife Refuge photographer Subhankar Banerjee.
November 23, 2010 - January 2, 2011
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Checkout our Tradeshow Exhibit and Event Graphic Display Options
# Thursday, July 22, 2010
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DFM printed & installed the Birth of Impressionism wall murals at the de Young
# Monday, June 07, 2010
This project was nerve racking and very exciting!
Thank you Earl, Ted, the Michell's, Dave and Richard
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Art review: 'Impressionism' at the de Young
# Monday, June 07, 2010
Musée d'Orsay selection traces Impressionism's many faces, facets
SF Gate: ART REVIEW: May 21, 2010|By Kenneth Baker, Chronicle Art Critic
Follow the feet as you make your way through the M.H. de Young Museum's grand exhibition, "Birth of Impressionism: Masterpieces From the Musée d'Orsay," which opens Saturday. Not fellow visitors' feet, but those in the paintings.
![Cezanne, Pont de Maincy [Maincy Bridge], circa 1879](http://image3.examiner.com/images/blog/replicate/EXID13996/images/resized_Cezanne__Bridge.jpg)
That pictorial thread winks out of the complex fabric of this show only by chance. But it suggests how much more this selection of mid- to late-19th century paintings from Paris holds than just the standard account of an avant-garde eclipsing a creatively bankrupt art establishment.
Bouguereau's "Birth of Venus" depicts the classical goddess of love afloat on a giant seashell, accompanied by cherubs and centaurs. Its subject provides a built-in pretext for nudity and (male) erotic fantasy. It also displays all the qualities that the Impressionists and their Realist and Barbizon School predecessors renounced: calculated false feeling, historical irrelevance and the "licked surface" that sealed off the picture space from the tangible, temporal world.
But even visitors schooled to revile Bouguereau as exemplar of everything retrograde must admire the technical dexterity and effort that his most famous picture demanded. Every bodily twist that it describes, from torso to toes and fingertips, looks plausibly observed, hinting at an extensive process of life studies and composition.
To understand the artistic gap between Bouguereau and high Impressionism, compare "The Birth of Venus" with Degas' depiction of callow ballerinas in "The Dancing Lesson" (1873-76).
No Venuses here. We look in on the working life of the demi-monde: young dancers in training for the ballet of the Paris Opera, where they might hope one day to meet a male benefactor backstage.
A couple of girls take prompting from their famous instructor, who stands at the center of the picture. But most look on, bored, restless and awkward. They chafe in their costumes. One in the foreground scratches her back.
The title "Birth of Impressionism" fits the exhibition well, accommodating the multiple meanings of "Impressionist" and the multiple paths along which it evolved.
Many paths
One path leads from mythological fantasy such as Bouguereau's through the revisionary realism of Gustave Courbet and Jean-François Raffaëlli to the interest in contemporary life shared by Degas, Edouard Manet and Gustave Caillebotte.
Another path winds from the fetid dream landscape of Gustave Moreau, in whom the Surrealists saw a precursor, through the charged symbolism of France in views of peasant field workers and battle scenes inspired by the Franco-Prussian War and the Paris Commune to ostensibly becalmed plein-air studies by Claude Monet, Alfred Sisley, Camille Pissarro and others.
The shifting relations among technique, subject matter and artistic attitude offer other paths through "Birth of Impressionism."
Forget nomenclature for a while and look hard at the rich range and variety of physical detail in the paintings assembled here.
Again and again in going through the show, I recalled art historian James Elkins' advice to imagine imitating physically the brushwork gestures in a canvas. In general, this gets easier to do as you move through the show.
Photography intrudes
Here and there, we sense the pressure of the new medium of photography.
A photograph appears tucked into the frame of the mirror in James Tissot's "Portrait of Mademoiselle L.L." (1864), complicating Tissot's reprise of J.A.D. Ingres' famous portrait of the Comtesse d'Haussonville. The sitters in Bazille's "Family Reunion" (1867) meet the viewer's eye in much the way they would a camera's. The offhand framing of Degas' images and the flickering busyness of a Monet such as "The Tuileries" (1875) imply the very instantaneity that photography promised almost from its invention.
Through careful selection and deft labeling, "Birth of Impressionism" even evokes some of the shifting allegiances among the Impressionists. Artists' portraits of one another ricochet around the center of the show. And Pierre Auguste Renoir's affectionate portrait of Bazille at his easel shows him working on a dead game still life. Sisley's version of the same subject hangs alongside.
The last room of "Birth of Impressionism," where Degas, Paul Cezanne and Camille Pissarro predominate, leaves us at the threshold of modernist painting. It also serves as a hinge for the de Young's September extravaganza, "Van Gogh, Gauguin, Cezanne and Beyond: Post-Impressionist Masterpieces From the Musée d'Orsay."
In view of the present exhibition, expectations for the second installment could not be higher.
Birth of Impressionism: Masterpieces From the Musée d'Orsay: Paintings. Through Sept. 6. De Young Museum, Golden Gate Park, San Francisco. (415) 750-3600. www.deyoungmuseum.org.
E-mail Kenneth Baker at kennethbaker@sfchronicle.com.
(C) San Francisco Chronicle 2010
Follow the feet as you make your way through the M.H. de Young Museum's grand exhibition, "Birth of Impressionism: Masterpieces From the Musée d'Orsay," which opens Saturday. Not fellow visitors' feet, but those in the paintings.
From the unearthly perfection of Adolphe-William Bouguereau's "Birth of Venus" (1879) in the first room of the show to the homely ritual of Edgar Degas' "The Pedicure" (1873) in the last, you can track the arc of artistic change through painters' treatment of their subjects' feet.
That pictorial thread winks out of the complex fabric of this show only by chance. But it suggests how much more this selection of mid- to late-19th century paintings from Paris holds than just the standard account of an avant-garde eclipsing a creatively bankrupt art establishment.
Bouguereau's "Birth of Venus" depicts the classical goddess of love afloat on a giant seashell, accompanied by cherubs and centaurs. Its subject provides a built-in pretext for nudity and (male) erotic fantasy. It also displays all the qualities that the Impressionists and their Realist and Barbizon School predecessors renounced: calculated false feeling, historical irrelevance and the "licked surface" that sealed off the picture space from the tangible, temporal world.
But even visitors schooled to revile Bouguereau as exemplar of everything retrograde must admire the technical dexterity and effort that his most famous picture demanded. Every bodily twist that it describes, from torso to toes and fingertips, looks plausibly observed, hinting at an extensive process of life studies and composition.
To understand the artistic gap between Bouguereau and high Impressionism, compare "The Birth of Venus" with Degas' depiction of callow ballerinas in "The Dancing Lesson" (1873-76).
No Venuses here. We look in on the working life of the demi-monde: young dancers in training for the ballet of the Paris Opera, where they might hope one day to meet a male benefactor backstage.
A couple of girls take prompting from their famous instructor, who stands at the center of the picture. But most look on, bored, restless and awkward. They chafe in their costumes. One in the foreground scratches her back.
The title "Birth of Impressionism" fits the exhibition well, accommodating the multiple meanings of "Impressionist" and the multiple paths along which it evolved.
Many paths
One path leads from mythological fantasy such as Bouguereau's through the revisionary realism of Gustave Courbet and Jean-François Raffaëlli to the interest in contemporary life shared by Degas, Edouard Manet and Gustave Caillebotte.
Another path winds from the fetid dream landscape of Gustave Moreau, in whom the Surrealists saw a precursor, through the charged symbolism of France in views of peasant field workers and battle scenes inspired by the Franco-Prussian War and the Paris Commune to ostensibly becalmed plein-air studies by Claude Monet, Alfred Sisley, Camille Pissarro and others.
The shifting relations among technique, subject matter and artistic attitude offer other paths through "Birth of Impressionism."
Forget nomenclature for a while and look hard at the rich range and variety of physical detail in the paintings assembled here.
Again and again in going through the show, I recalled art historian James Elkins' advice to imagine imitating physically the brushwork gestures in a canvas. In general, this gets easier to do as you move through the show.
Photography intrudes
Here and there, we sense the pressure of the new medium of photography.
A photograph appears tucked into the frame of the mirror in James Tissot's "Portrait of Mademoiselle L.L." (1864), complicating Tissot's reprise of J.A.D. Ingres' famous portrait of the Comtesse d'Haussonville. The sitters in Bazille's "Family Reunion" (1867) meet the viewer's eye in much the way they would a camera's. The offhand framing of Degas' images and the flickering busyness of a Monet such as "The Tuileries" (1875) imply the very instantaneity that photography promised almost from its invention.
Through careful selection and deft labeling, "Birth of Impressionism" even evokes some of the shifting allegiances among the Impressionists. Artists' portraits of one another ricochet around the center of the show. And Pierre Auguste Renoir's affectionate portrait of Bazille at his easel shows him working on a dead game still life. Sisley's version of the same subject hangs alongside.
The last room of "Birth of Impressionism," where Degas, Paul Cezanne and Camille Pissarro predominate, leaves us at the threshold of modernist painting. It also serves as a hinge for the de Young's September extravaganza, "Van Gogh, Gauguin, Cezanne and Beyond: Post-Impressionist Masterpieces From the Musée d'Orsay."
In view of the present exhibition, expectations for the second installment could not be higher.
Birth of Impressionism: Masterpieces From the Musée d'Orsay: Paintings. Through Sept. 6. De Young Museum, Golden Gate Park, San Francisco. (415) 750-3600. www.deyoungmuseum.org.
Painting: Cezanne, Pont de Maincy [Maincy Bridge], circa 1879 © Musee D'Orsay
E-mail Kenneth Baker at kennethbaker@sfchronicle.com.
(C) San Francisco Chronicle 2010
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ALEX ZECCA AND SUZANNE FRAZIER: TWO SOLO EXHIBITIONS
# Tuesday, June 01, 2010
Gallery 16
501 Third St SF
501 Third St SF
June 4 - July 16, 2010
Opening reception on Friday June 4 from 6 - 9pm
ALEX ZECCA AND SUZANNE FRAZIER TWO SOLO EXHIBITIONS
June 4 - July 16, 2010
Opening reception on Friday June 4 from 6 - 9pm
ALEX ZECCA: NEW WORK
Gallery 16 is pleased to announce its fourth solo exhibition with San Francisco artist Alex Zecca. The new drawings are the result of Zecca's obsessive and precise methodology. The drawings are time-intensive, process-oriented works made through a laborious process of accumulating steady inked lines.
Color, mixing, reaction and saturation, as well as sequence and systems are the visual dialogue central to my work.
Alex Zecca
SUZANNE FRAZIER: NEW WORK
Gallery 16 is pleased to present a show of recent paintings by Suzanne Frazier from her Tidelog series - paintings inspired by the entangled seaweed of the Northern Coast.
Gallery 16 is pleased to announce its fourth solo exhibition with San Francisco artist Alex Zecca. The new drawings are the result of Zecca's obsessive and precise methodology. The drawings are time-intensive, process-oriented works made through a laborious process of accumulating steady inked lines.
Color, mixing, reaction and saturation, as well as sequence and systems are the visual dialogue central to my work.
Alex Zecca
SUZANNE FRAZIER: NEW WORK
Gallery 16 is pleased to present a show of recent paintings by Suzanne Frazier from her Tidelog series - paintings inspired by the entangled seaweed of the Northern Coast.
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SFMOMA's 75th celebrated with youthful zest
# Monday, May 17, 2010
SFGate . Carolyne Zinko, Chronicle Staff Writer
As an institution, the San Francisco Museum of Modern Art is 75, but it has never been so young.
More than 1,200 people celebrated the art museum's birthday Friday, about 550 at a $50,000-a-table private dinner and several hundred others at an afterparty that lasted into the wee hours.
Renowned gallerists, museum directors, artists and art collectors from near and far - Robin Vousden, director of the Gagosian Gallery in London; Jeffrey Deitch, director of the Los Angeles Museum of Contemporary Art; painter Cheyney Thompson of New York; and San Francisco sound sculptor Bill Fontana, to name a few - came to celebrate the accomplishments of the museum, one of the three oldest modern art museums in the country.
"This is the most ambitious modern art museum in North America," proclaimed Vousden. "Civilization tends to move west. It got to England in the 16th century and it's predominant in San Francisco in the 21st century. This is like England of Elizabeth I - it's the center of the world, for art, for technology, financial services, arts and architecture. The energy is here, it feels young and ambitious and has totally great art and totally great collectors."
"Innovation is deeply embedded in the DNA of the museum, in its history and its present," said SFMOMA Director Neal Benezra. "There is no other museum, honestly, with such bright prospects, and it's the product of a great community of support."
The depth of support was evidenced by the demand for tickets for the event, from well-established collectors such as Doris Fisher and her extended family to younger patrons such as Google's Marissa Mayer and Facebook's Mark Zuckerberg. "When I called people to ask them to buy tables," said party chairwoman Norah Stone, "nobody said no."
New York art dealer Ethan Wagner, attending with wife Thea Westreich, said that when he told friends he was going to San Francisco for the museum party, nobody believed him. "No you're not," they challenged him. "It's sold out."
Stone and her husband, Norman, fun-loving characters known worldwide as much for their art collection as their joie de vivre, set a playful tone by requesting creative attire. Charlotte and George Shultz wore coats made of digitally printed fabric with newspaper stories about SFMOMA. Philanthropist Cissie Swig wore a headpiece adorned with butterflies. Norah Stone wore a hat made in the likeness of the museum's skylight, by New York designer Patricia Underwood. And London art dealer friend Ivor Braka came with drippy black eye makeup a la shock rocker Alice Cooper. Decor man Stanlee Gatti set a chic, spare tone adorning each table with a wood-block centerpiece spelling "SFMOMA" and a single gerbera daisy tucked inside.
There were other artistic creations - catered food by McCalls, the avant-garde music of headliners the Brazilian Girls, and birthday cakes galore in chocolate, fruit and violet by Elizabeth Faulkner, butter cake with strawberries poached in Lillet and vanilla bean with lemon verbena Swiss meringue by Caitlin Freeman, and croquembouche by Gerhard Michler.
But the best artistic endeavor of the night belonged to interior designer Sunny Merry and her mother, Jamie Jackson, a rancher. They put on wigs and had their faces painted with dots earlier in the day at the MAC cosmetic store on Union Street. The result was a Roy Lichtenstein painting come to life.
"I saw it on a Web site at Halloween," Merry said, "but I waited until tonight to do it."
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