California Vietnam Veterans Memorial ~ Capitol Park

The blossoms of the weeping cherry trees that encircle the 3,750 square-foot California Vietnam Veterans Memorial bloom in April and are reportedly a spectacular site (1). The memorial sits just beyond the rose garden in the north-east corner of Capitol Park, near 15th Street and Capitol Avenue. At the entrance to the memorial, visitors first pass the bronze map of South Vietnam.

Dedicated on December 10, 1988 the memorial was created by artist, Rolf Kriken, and was built entirely from over 2 million dollars donated for the project (2).

A quote from a still-photo video on YouTube describes the circular design and symbolism of the memorial:

“The memorial is designed in the shape of broken concentric circles to serve as a reflection on life. The innermost circle is shaped like a drum with entrances at the four points of the compass.”(3)

Pylons at the entrances are capped with electric lamps lit 24-hours a day to represent Eternal Flames.

Twenty-two black granite panels in the outer ring are engraved with the names of the 5,822 Californians who died or are MIA in the Vietnam war. The names are arranged by hometown. The day before Memorial day, an event called The Reading of the Names occurs where volunteers read all of the names on the memorial walls (4). Reading the nearly 6,000 names takes about 12 hours.

Lt. Gregory Hodson died in 1964 when his plane crashed into the South China Sea but, because the plane crashed just a few miles outside of the war zone, his name is not on this wall. It was the policy of the Navy to only put names on the wall of soldiers killed inside the war zone. Recently, through the 20-year effort of his good friend, Bill Spurgin, a memorial stone for Lt. Gregory was laid near the memorial (5).

The inside walls are full relief bronze sculptures of scenes from daily life during the war from the perspective of combat soldiers, nurses, and POWs. The California Vietnam Veterans Memorial was the first Vietnam war memorial to honor the experience and service of POWs and nurses (6). To get a felt sense of walking through the memorial, click to watch this video.

Flanking each relief are six bronze panels (three on each side); most depicting images from well-known photographs from the war. The US Constitution and Bill of Rights are also depicted in their own panels.

A bronze sculpture of a combat soldier reading a letter from his parents sits in the inner circle of the memorial.

Next to the soldier sits a bronze plaque with a poem by Major Michael O’Donnell.

The poem reads:
Take what they have left
and what they have taught you
with their dying
and keep it with your own.
And in that time
where men decide and feel safe
to call the war insane,
take one moment to embrace
those gentle heroes
you left behind.

Memorials to honor the men and women who serve are important places for recognition, reflection, respect, and remembering. Another vitally important aspect of honoring those who serve is providing support services for their return to civilian life, particularly those who have been injured physically and emotionally.

My uncle, Kirk Bauer, served in Vietnam. He was awarded the Bronze Star twice, a Metal of Valor, and a Purple Heart for injuries sustained in combat. In 1969 he was a noncommissioned officer in the Army and lost his leg in a grenade explosion. During his rehabilitation, fellow veterans approached him proposing to they teach him to ski. Kirk went on to become a member of the U.S. Disabled Ski Team and was one of the first disabled ski instructors to be fully certified by the Professional Ski Instructors of America. This small group of veterans skiing in the 1960s was the beginning of what would later become Disabled Sports USA (DS/USA), the organization Kirk has headed since 1982.

DS/USA is a “nationwide sports rehabilitation programs that is available to anyone with a permanent disability. Activities include winter skiing, water sports, summer and winter competitions, fitness and special sports events.” (7). Their programs are available to anyone, but they actively support wounded veterans returning from war to get them involved in the programs and this can make all the difference in the wounded soldier’s life. A quote on the DS/USA website from a veteran says it all:

When I’m out there boarding, it takes the disability away from my mind and gives me more of my freedom. I’m enjoying what I went to protect. I owe a lot to this program. It saved my life. (8)

If you would like to make a donation to DS/USA, you can click here to use their secure online form.

Title: California Vietnam Veterans Memorial
Artist: Rolf Kriken (http://www.nordhammer.com/gallery/kriken_about.htm)
Date: 1988
Media: Bronze
Location: Capital Park


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(1) http://www.youtube.com/watch?v=dtBvOLZ_IA4
(2) http://www.vva.org/veteran/1208/CA_memorial.html
(3) http://www.youtube.com/watch?v=dtBvOLZ_IA4
(4) http://www.norcaltrav.com/vietnam_veterans_memorial_-sac.htm
(5) http://sacramento.cbslocal.com/2011/02/19/47-years-later-vietnam-vet-memorialized-in-sacramento/
(6) http://1banchie.tripod.com/banchie11.html
(7) http://www.dsusa.org/about-overview.html
(8) https://dsusa.org/donate.html

Jumperman ~ 6th & Q

18′ tall Jumperman looks poised to take flight from the entrance of classical modern design building at 600 Q that was once the Dunn Edwards Paint Store (1). The metal sculpture was created by Michael Riegel in 2003 (2).

Riegel has a series of sculptures of similar human figures (3). He has also worked with metals to create mechanical toys and functional tools including sewing scissors at the Smithsonian American Art Museum he created from forged and annealed carbon steel stock: “The curved handles show his interest in Japanese weapons and armor from the fifteenth through seventeenth centuries” (4).

Originally built in 1966, the building at 600 Q was redeveloped in 2003 now houses Nacht & Lewis Architects (5). The redevelopment team sought to maintain the classic modern design while transforming it into a dynamic building.

Respecting the strengths and character of the original building, the design team sought to inject a new image and vitality to the structure. Previously painted concrete block was sandblasted and left exposed for its rich natural color and texture. Exterior pilasters at the two-story glass storefronts were painted purple to accentuate their rhythm. Perforated steel plate guardrails painted bright yellow and a metal sculpture enliven the corner entry to the building. Finally, LED lighting was introduced behind a refurbished exterior signage band to illuminate the north and west facades and the streets below.(6)

Several public art pieces by Riegel can be found around the Sacramento area including:

Title: Jumperman
Artist: Michael Riegel (www.mikeriegel.com)
Date: 2003
Media: Metal
Location: 6th & Q


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(1) http://hellerpacific.com/projects/600-q/
(2) http://www.mikeriegel.com/
(3) http://sculpturesite.com/Artist-Detail.cfm?ArtistsID=257
(4) http://americanart.si.edu/collections/search/artwork/?id=20948
(5) http://www.nlarch.com/portfolio/private_600q.html
(6) http://www.nlarch.com/portfolio/private_600q.html

Fountain: Time to Cast Away Stones ~ 13th & K

Where are we going?
What have we wrought?
How are we loving?
What have we thought?

These questions, carved in stone and almost hidden under a cascade of water, are posed by Stephen Kaltenbach on his fountain sculpture at the Sacramento Convention Center called, Time to Cast Away Stones. In my image below, you can just begin to make out the carved letters underneath the flow of water, but you can find some wonderful photos of the fountain that reveal the carved letters of the questions quite clearly on Jenny Arnez’s blog post.

Time to Cast Away Stones consists of two rectangular sculptured stone fountains, separated by a walkway and running lengthwise along the center divider of 13th Street at the entrance to the Sacramento Convention Center. The sculptures evoke Greek or Roman ruins and you can find many interesting images within the seeming jumble of stone.

Kaltenbach graduated from UCD, lived in New York where he was part of the avant-garde scene there in the late 1960s, and then moved to Sacramento to teach art at CSUS from 1970-2005 (1).

In an article titled, “Altered Ego: Sarah Lehrer-Graiwer on Stephen Kaltenbach,” the author describes some of the most interesting aspects of Kaltenbach’s uniqueness as an artist:

Kaltenbach followed what he called a protocol of opposites: Whenever he identified a structurally embedded social pattern of behavior among his artist peers, he would do the opposite….Against the idea that artists should exhibit only in galleries and museums, he committed “Street Works” in public, often unannounced, using graffiti stamps, stencils, sidewalk plaques, and disguises. (2)

Going against the grain of the art scene of keeping artistic ideas to one’s self, Kaltenbach intentionally sought to keep his creativity open and looked for opportunities to share artistic possibility with others (3). He called this spreading of influence Casual Art, and Teach Art was one element of the Casual Art principle that his role at CSUS gave him a platform to embody (4).

From November 1968 and December 1969, Kaltenbach anonymously placed twelve full-page ads, which he referred to as ‘micro-manifestos’ in Artforum. The ads consisted of mostly white-space with a few words in plain type-face text centered on the page. You can see an example of one called, “Become a legend,” in the lower right corner of this image. The twelve micro-manifestos (5):

ART WORKS. (Nov 1968)
JOHNNY APPLESEED. (Dec 1968)
ART. (Jan 1969)
Tell a lie. (Feb 1969)
Start a rumor. (March 1969)
Perpetrate a hoax. (April 1969)
Build a reputation. (May 1969)
Become a legend. (Summer 1969)
Teach Art. (Sept 1969)
Smoke. (Oct 1969)
Trip. (Nov 1969)
You are me. (Dec 1969)

Kaltenbach called these “a passing on of possibilities” (6) and, in an article titled, “The Enigma of Stephen Kaltenbach, Almost,” Elaine O’Brien writes:

“These ads are word-works that specifically targeted the Artforum audience and effectively participated in the conceptualist project to multiply doubt, but they also evidence Kaltenbach’s heightening ironic self-objectification.” (7)

Since his move from New York, his public pieces became more populist in a move that could draw criticism from the conceptual art world (8). Even as he created more realist and decorative pieces, his conceptual work continued, and as this quote describes, the strangeness of his living in both the populist and conceptual worlds is just another element of his artistic uniqueness:

“Only a playful ease with unease can yield pleasure and possibly reveal the complexity of an artist whose work is elusive on principle” (9).

Three other public art pieces by Kaltenbach can be found in Sacramento (10):

The Crocker Art Museum’s permanent collection is home to an extraordinary painting by Kaltenbach. “Portrait of My Father” is a photo-realistic painting with a scrim effect that brings an ethereal quality that “gives a little barrier between you and the subject, and the chromatic spectrum makes you think about things that are unseen but there” (11).

Portrait of My Father, Crocker Art Museum online catalog

The Crocker describes the work as a “testament to life, love, and the loss confronting us all.” (12). In the seven years he worked with this painting, he experienced personal transformation through grief of his father’s death and dark psychedelic trips to finding faith and becoming a Christian (13).

On her blog, Jenny Arnez describes how the title of this piece reminds her of a biblical quote and the affect it had on her:

“Time to Castaway Stones” brings to mind Ecclesiastes 3:5. The New King James version says, “A time to cast away stones, and a time to gather stones together; a time to embrace, and a time to refrain from embracing.” The sculpture causes me to think and question not only our society’s actions but my own daily choices as well.(14)

Although I’m not familiar with the biblical reference, I had a similar experience in terms of reflecting on the four questions Kaltenbach poses for us:

Where are we going?
What have we wrought?
How are we loving?
What have we thought?

Title: Time to Cast Away Stones
Artist: Stephen J. Kaltenbach (www.stephenkaltenbach.com)
Date: 1999
Media: Cast Cement
Location: Sacramento Convention Center, 13th & K


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(1) http://www.stephenkaltenbach.com/info/resume.html
(2) http://www.thefreelibrary.com/Altered+Ego%3A+Sarah+Lehrer-Graiwer+on+Stephen+Kaltenbach.-a0236980129
(3) http://www.thefreelibrary.com/Altered+Ego%3A+Sarah+Lehrer-Graiwer+on+Stephen+Kaltenbach.-a0236980129
(4) http://www.thefreelibrary.com/Altered+Ego%3A+Sarah+Lehrer-Graiwer+on+Stephen+Kaltenbach.-a0236980129
(5) http://stevenleiberbasement.com/archive.php?list=extra_art.txt&mfltr=extra_art.txt&afltr=&qfltr=&sort=&offset=220
(6) https://www.crockerartmuseum.org/exhibitions-collections/collections/asian-art/asian-art?page=shop.product_details&flypage=flypage_cust.tpl&product_id=695&category_id=51
(7) http://angelfloresjr.multiply.com/journal/item/7109/The_Enigma_of_Stephen_Kaltenbach_Almost?&show_interstitial=1&u=%2Fjournal%2Fitem
(8) http://www.thefreelibrary.com/Altered+Ego%3A+Sarah+Lehrer-Graiwer+on+Stephen+Kaltenbach.-a0236980129
(9) http://www.midtownmonthly.net/art/bad-ideas/
(10) http://www.sacbee.com/2010/11/02/3150600/powerful-portrait-at-sacramentos.html
(11) http://www.sacbee.com/2010/11/02/3150600/powerful-portrait-at-sacramentos.html
(12) https://www.crockerartmuseum.org/exhibitions-collections/collections/asian-art/asian-art?page=shop.product_details&flypage=flypage_cust.tpl&product_id=695&category_id=51
(13) http://www.sacbee.com/2010/11/02/3150600/powerful-portrait-at-sacramentos.html
(14) (http://www.jennyarnez.com/art-2/time-to-castaway-stones

Gold Rush Fountain ~ 5th & I

A stand of beautiful white-barked trees forms a soft backdrop for the Gold Rush fountain in front of the Sacramento Federal Courthouse at 501 I Street. This fountain is more than just a cascade of water; cartoonish bronze figures dot the entire plaza. Anthropomorphized animals, Native Americans, Western miners, pioneers, and even Uncle Sam, are in and around the symbolic river creating an allegorical image of the Gold Rush.

One online article referred to the sculpture as a “whimsical representation of early California history” (1). Otterness’ figures are whimsical but the piece as a whole is not simply whimsy. Like much of Otterness’ works, Gold Rush also speaks to the darker elements of the story. The plaque nearby describes that “Otterness’ intention is to prompt viewers to reevaluate certain beliefs (and myths) about American history.”

While designing a different piece for the bankruptcy court in Sacramento, Otterness, faced criticism from a judge regarding his initial design — a chess board with 6′ tall chess pieces in the form of money bags (2). The article by Pranay Gupte quotes the judge saying: “Forget it. The last thing that anyone wants to see outside a bankruptcy court is a radical economic critique.” (3) Otterness worked with the feedback and his design evolved. He described this process as “a kind of surrealistic collaboration with a very conservative judge” and said the process taught him “that when it comes to public art, you need to work closely with local officials and others who understand the environment, the local culture.” (4)

Otterness’ public art work appears across the US, Canada, and worldwide (5). One of his best known works is, Life Underground, that includes more than 100 different pieces scattered throughout subway stations in NYC. Otterness described the subject of Life Underground as “the impossibility of understanding life in New York” (6).

“His style is often described as cartoonish and cheerful but tends to carry a political punch. His sculptures are filled with multiple meanings and allude to sex, class, money and race.” (7)

Controversy surrounds Otterness an awful act of animal cruelty that he did as art in 1977 (8). He issued an apology but it is a disturbing fact of his history.

I like this quote from Otterness about how he wants us engage with his work:

My work is really social commentary….I want people to touch these sculptures, to discuss them, to argue about them, to find in them whatever meaning they might draw from my work. Not everything in my work is explainable, of course. But that’s good, too. It’s sometimes good to leave people somewhat puzzled. The important thing is that they touch my sculptures, and talk about them.(9)

The plauqe reads:

A native of Wichita, Kansas, sculptor Tom Otterness is known for creating bronze and cast stone scupltures. Most of his work utilizes allegorical human and anthropomorphic animal figures. Otterness includes humorous elements in much of his work, even when dealing with serious social or political subjects. For the Sacramento Courthouse, artist Otterness created an assortment of knee-high characters reminiscent of California’s early history – animals and fish, native Americans and pioneers. He choose to position his whimsical yet enigmatic figures along the plaza’s fountain, which serves as a reminder of the significant role the Sacramento River and other waterways have played in the history of the state. Using the Gold Rush as his theme, Otterness worked both with and against the artistic traditions of the American West, especially the sculptor Frederick Remington. With the familiar cast of characters, Otterness’ intention is to prompt viewers to reevaluate certain beliefs (and myths) about American history.

Title: Gold Rush
Artist: Tom Otterness (www.tomostudio.com)
Date: 1999
Media: Cast Bronze Sculptures
Location: Sacramento Federal Courthouse, 501 I Street


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(1) www.examiner.com/culture-events-in-sacramento/art-is-all-around-us-walking-tour
(2) http://www.pranaygupte.com/article.php?index=285)
(3) http://www.pranaygupte.com/article.php?index=285
(4) (http://www.pranaygupte.com/article.php?index=285)
(5) http://www.tomostudio.com/exhibitions_publicart_landing.html
(6) http://en.wikipedia.org/wiki/Life_Underground
(7) http://en.wikipedia.org/wiki/Tom_Otterness
(8) http://en.wikipedia.org/wiki/Tom_Otterness#Controversy
(9) http://www.pranaygupte.com/article.php?index=285

Shine Mural ~ 14th & E

In blue, purple, green, and yellow, the intricate mural outside Shine cafe can keep a careful viewer occupied for a long while. It’s called, Ancient Futurism and is the work of local artist Shaun Burner (1).

The mural invites us to get up close and find some of the many mini-images that are integrated into the larger whole:

A face profile, cassette tape, and coffee mug.

Single die, envelope, and boat.

Coffee bean and conga drum.

Burner’s mural work can be found throughout downtown and has been featured on SacPedArt several times in the last year: Dimple Records, American Market, Midtown Mosaic, and (for a short while anyway) Sugar Plum Vegan Cafe.

He is part of a group called, Trust Your Struggle, which “is a collective of visual artists, educators, and cultural workers dedicated to social justice and community activism through the medium of art.”

Shine cafe opened in August 2010 in the recently re-developed Shine Building in Mansion Flats neighborhood (2). Other businesses in the building include Penleigh, a child-development center and preschool, and Yoga Seed Collective, a non-profit yoga studio (3). Shine cafe serves local food, fair-trade coffee, local art, and live music in a comfortable, living-room like atmosphere.


Burner completed Ancient Futurism in a couple of hours (4). Submerge Magazine quotes the artist talking about his painting process:

For me, this is meditation. It’s my tai chi. It’s a metaphor for life. Do the best you can with whatever you do. Don’t reflect on the past too much or worry about the future, but be present in this moment that is continually happening, and own that shit.(5)


Title: Ancient Futurism
Artist: Shaun Burner
Date: 2010
Media: Paint
Location: 1400 E Street


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(1)  http://submergemag.com/featured/bicycle-mural-tour-2012/6135/
(2) http://www.sacramentopress.com/headline/26494/Shine_Building_to_brighten_up_downtown
(3) http://www.sacramentopress.com/headline/38344/Yoga_collective_takes_root
(4) (http://submergemag.com/featured/bicycle-mural-tour-2012/6135/)
(5) (http://submergemag.com/featured/bicycle-mural-tour-2012/6135/)

Sac Evening Skyline Mural ~ 2316 C

A mural of the Sacramento skyline with evening stars and a bright moon welcomes customers entering the local printing business, J. Prassa Printers. The mural was painted by William Boddy in 2004 (1).

Boddy had his studio in Sacramento for some years and painted numerous murals around town including: the lobby of Cal Farm Insurance, a skating rink, and a dive shop (2). Boddy now resides in Salida Colorado.

J. Prassa has been a local Sacramento business for 30 years. They use sustainable practices including using only soy based inks and their paper stock includes 100% Post-Consumer Waste paper (3).

Title: (unknown)
Artist: William Boddy (www.williamboddy.com)
Date: 2004
Media: Paint
Location: 2316 C Strett


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(1) http://www.pbase.com/southyuba/image/127200564
(2) http://williamboddy.com
(3) http://www.jpprinting.net

Alhambra Reservoir ~ Alhambra and K

A 400 foot aerial map wrapped around the side of the Alhambra Reservoir creates an image of the water-flow drawn from our rivers and wetlands into the reservoir then delivered from there to our communities. Michael Bishop, a Fulbright scholar and art professor at Chico State, created this piece which was installed in 2005 (1, 2).

The water map appears a burnished gold during the day, and a night 2,000 feet of blue LEDs illuminate and animate the map. The dark spots in the LEDs that need repair detract from the effect, but it is still fun to watch the blue circle of the reservoir empty and fill every few seconds, simulating the daily water draw and re-supply (3):

The polyhedron-shaped reservoir was built in 1937 and holds 3 million gallons of water (4). The bottom 100 feet of the structure was previously home to a blood bank but now is home to the special operations and training facility of the Sacramento Fire Department (5). During World War II, the entire reservoir was painted in camouflage symbolizing the fighting abroad (6).

Bishop’s page for this project includes some excellent nighttime photos and he writes about the inspirations for the piece:

I was taken by how the water tower actually functions and at the same time, the urban history and urban myth surrounding it. It was painted in camouflage during the war, and still called the blood tank by locals from the days when the blood bank offices were downstairs. I was also interested in the tower as a symbolic contrast of organic space versus human made space – Jeffersonian grid meets American river. Maybe it boils down to the notion that I am not the believer in western narrative that I once was. It may seem odd, but to me, the work today is distilled and poignant, like focusing on an expansive horizon and realizing after awhile you are not spacing out, but taking it all in.

The 12-foot-tall, 350 lb concrete vessels decorating the top of the tank are a complement to the relief that appears above the main entrance (photo below). Stored inside the vessels are drawings and letters from local schoolchildren inspired by their lessons on the water tower (7).

Researching this piece, I ran across several photos of scooters parked in front of the reservoir. They are playing Scooter Tag, a game where riders take a picture of their scooter in a local spot (without identifying where) and other people have to figure out where the location is and then take a picture of their scooter in the same spot (8).

Title: The Alhambra Project
Artist: Michael Bishop (www.mbishopsculpture.com)
Date: 2003-2006
Media: LED, Aluminum, Steel, Cast Vessels
Location: 3230 J St


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(1) http://www.sacmag.com/Sacramento-Magazine/June-2006/Flashback-All-Tanked-Up/
(2) http://cityofsacramento.pastperfect-online.com/36991cgi/mweb.exe?request=image&hex=200531.JPG
(3) http://www.csuchico.edu/~mbishop/proj_current_alhambra.html”
(4) http://www.sacmag.com/Sacramento-Magazine/June-2006/Flashback-All-Tanked-Up/
(5) http://www.sacmag.com/Sacramento-Magazine/June-2006/Flashback-All-Tanked-Up/
(6) http://www.sacmag.com/Sacramento-Magazine/June-2006/Flashback-All-Tanked-Up/
(7) http://www.sacmag.com/Sacramento-Magazine/June-2006/Flashback-All-Tanked-Up/
(8) http://www.scooterdiva.com/forum/viewtopic.php?t=3827

Shimizu Fountains ~ 700 H

Modeled after Japanese origami forms, two very ’70s metal fountains with large burnt orange pools sit in the North and South plaza entrances to the Sacramento County Administration Building (1). These fountains, and an interior wall sculpture of a similar design, were created by Seiji Shimizu in 1977.

The south plaza fountain is the smaller of the two and measures 8 x 3 x 8 ft.

The north plaza fountain measures 12 x 3 x 6 ft.

Research turned up very little information about these fountains or Shimizu himself. I did find references to two of his other works from Japan.

In 1962, he created a geometrical sculpture that hangs from a skylight at Numazu Culture Center (2).

He also created the baptismal font at the Archdiocese of Tokyo Catholic Tokyo International Center (CTIC). The font is shaped like an open hand. Light falls from the ceiling into the hand, and the list symbolizes the “light of God that leads the faith of the catechumen and shows the abundant grace he is going to receive.” (3)

The wall sculpture inside the main lobby is too tall to capture in a single photo.

Title: (untitled)
Artist: Seiji Shimizu
Date: 1977
Media: Metal
Location: 700 H


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(1) http://collections.si.edu/search/results.jsp?q=Shimizu+Seiji

(2) http://www.city.numazu.shizuoka.jp/living_in/english/pdf/e091101-1.pdf

(3) http://www.tokyo.catholic.jp/text/eng/cathedral/baptismal.htm

ArtTake: Arty Bike Racks Deux

ArtTakes are my mini-posts on art found in unexpected places that is often FUNctional (sculpted bike rack, painted newspaper stand, crafted business signage). Today’s arttake is a follow-up to my first post on bike racks from Feb 2011.

Nick on the Town has also posted on fun bike racks around downtown in two installments: Sept 2009 and July 2010.

Hardware style bike racks at East Sac Hardware, 48th & Folsom. The nut and bolt at the top are real and cost $75 per.

Across the street at Nolan’s Hilltop Tavern they added a little style to the tops of their bike racks.

Down the street you can find pretzel bike racks in front of Socal’s Tavern, 52nd and Folsom.

They are authentic down to the salt crystals.

I came across this super-industrial bike rack in a residential neighborhood at 25th & I.

Bright yellow happy racks with water-bottle and rear-lamp details near Fifth String Music at Alhambra and J.

Reminiscent of old fashioned penny farthing bikes, these racks sit along the R Street Corridor around 14th & R in front of the Shady Lady Bar, Burgers and Brew, and Top This Frozen Yogurt.

The R Street Corridor project has been in the works for some years now, transforming the old industrial area of Sacramento into a lively urban area (not unlike Portland’s Pearl District). R Street was once the edge of town, and Corridor project’s website gives an interesting history of R Street.

A tour of public art in downtown/midtown Sacramento