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Artwork that inspired Berkeley’s logo is on view at BAMPFA

Artwork that inspired Berkeley’s logo is on view at BAMPFA
imageRomare Bearden: ‘Final Study for Berkeley – The City and Its People, 1973’; collage on board; University of California, Berkeley Art Museum and Pacific Film Archive; Gift of Dr. and Mrs. David Dragutsky © 2023 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY
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Romare Bearden: ‘Final Study for Berkeley – The City and Its People, 1973’; collage on board; University of California, Berkeley Art Museum and Pacific Film Archive; Gift of Dr. and Mrs. David Dragutsky © 2023 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

If you head over to BAMPFA’s new collection show, “What Has Been and What Could Be,” you’ll find 107 works on display — from 17th-century Japanese scrolls to mid-century abstract painting, feminist art and quilts. 

Take a close look at a chaotic, colorful collage made by the New York-based artist Romare Bearden and you’ll likely recognize an iconic civic symbol emblazoned on everything from trash cans to city notices: four overlapping faces in profile. 

Together, the faces inspired the city of Berkeley’s logo. They represent, Bearden said, the four races of man and are “set over a blueprint for a better world, which the students and people of Berkeley will augment.”

The 21-by-32-inch collage on view at BAMPFA was a study for a larger, 10.5-by-16-foot mural titled “Berkeley — The City and Its People,” which was commissioned by the city for $16,000 in 1971 to redecorate the drab-looking City Council chamber. Bearden was selected at the recommendation of Peter Selz, the Berkeley Art Museum’s founding director.

imageThe city plans to hangs its Romare Bearden mural up in its new chambers on University. Image: City of Berkeley
” data-medium-file=”https://i0.wp.com/newspack-berkeleyside-cityside.s3.amazonaws.com/wp-content/uploads/2017/11/Romare.jpg?fit=360%2C235&ssl=1″ data-large-file=”https://i0.wp.com/newspack-berkeleyside-cityside.s3.amazonaws.com/wp-content/uploads/2017/11/Romare.jpg?fit=791%2C517&ssl=1″ decoding=”async” src=”https://i0.wp.com/newspack-berkeleyside-cityside.s3.amazonaws.com/wp-content/uploads/2017/11/Romare.jpg?resize=809%2C529&ssl=1″ alt=”Chaotic, colorful collage with four faces in profile, birds, boats, the Campanile, arms raised in protest, Native Californians, early settlers, miners, the Berkeley Marina and much much more ” class=”wp-image-279878″ width=”809″ height=”529″ srcset=”https://i0.wp.com/newspack-berkeleyside-cityside.s3.amazonaws.com/wp-content/uploads/2017/11/Romare.jpg?w=791&ssl=1 791w, https://i0.wp.com/newspack-berkeleyside-cityside.s3.amazonaws.com/wp-content/uploads/2017/11/Romare.jpg?resize=200%2C131&ssl=1 200w, https://i0.wp.com/newspack-berkeleyside-cityside.s3.amazonaws.com/wp-content/uploads/2017/11/Romare.jpg?resize=360%2C235&ssl=1 360w, https://i0.wp.com/newspack-berkeleyside-cityside.s3.amazonaws.com/wp-content/uploads/2017/11/Romare.jpg?resize=768%2C502&ssl=1 768w, https://i0.wp.com/newspack-berkeleyside-cityside.s3.amazonaws.com/wp-content/uploads/2017/11/Romare.jpg?w=370&ssl=1 370w, https://i0.wp.com/newspack-berkeleyside-cityside.s3.amazonaws.com/wp-content/uploads/2017/11/Romare.jpg?w=400&ssl=1 400w” sizes=”(max-width: 809px) 100vw, 809px” data-recalc-dims=”1″>
The city mural, currently in storage in Oakland, is nearly identical to the final study on view at BAMPFA. Credit: City of Berkeley

Bearden came of age during the Harlem Renaissance and later became one of the most acclaimed American artists of the 20th century for his narrative collages that depict the Black experience. In 1963, along with a group of fellow artists, Bearden founded an African American artist collective born out of the Civil Rights Movement. He was awarded the National Medal of the Arts in 1987 by President Ronald Reagan.

Romare Bearden. Credit: Carl Van Vechten. Courtesy: Library of Congress

While much of his work centered Black life and culture, according to his New York Times obituary, Bearden (who had Cherokee, Italian, and African ancestry) argued for a multicultural understanding of what it meant to be American, rejecting the notion that his work was “black art.” “Except for the American Indian, everybody who came here or was brought here becomes, starting with the second generation, four things: Part Anglo-Saxon, part Indian, part frontiersman and part black,” Bearden said. “These are the roots that form American culture.”

Bearden’s selection for the mural project received pushback from some conservative Berkeleyans, as Lauren Kroiz, an art history professor at Cal, has written

The Berkeley Citizens United newsletter took issue with the time he spent in racially diverse flatland neighborhoods (he conducted research throughout the city) and, in articles rife with racism and stereotypes, asked readers to imagine “filth” and “degradation” — “a collage of Black Panthers waving clenched fists, filthy tent hovels at People’s Park, street revolutionaries tearing down the fence [at People’s Park], drug addicts lying stoned on Telegraph Avenue, Berkeley Communists waving the Viet Cong flag, Berkeley barbarians rampaging through the streets, looting, smashing, burning.” 

That was far from what Bearden had in mind. 

“Rather than foreground the contemporary sites and symbols of dissent registered in Black Power, counterculture, and Third World liberation as BCU worried,” Kroiz wrote. “Bearden represented Berkeley to its citizens by layering representations of people and landmarks, past and present, in photography, paint and colored papers.”

Read more about the creation of Bearden’s mural and its continued resonance

Included in the mural are Native Californians, early settlers, miners, the Campanile, the Berkeley Marina and more. In it, Berkeley’s civic strife, iconic symbols, messy diversity and striving for harmony are placed in dynamic tension. 

Bearden wrote in his description that it “symbolizes the past, the present, and the future possibilities of the city.”

What Has Been and What Could Be, BAMPFA. On view through July 2024.

Gantri’s Independent Creator Release Glows With Optimism

Gantri’s Independent Creator Release Glows With Optimism

Gantri, the 3D-printed on-demand lighting brand, welcomes the summer season with a quartet of whimsically imagined lamps for their third edition of the Independent Creator Release. (See first edition here) The playfully vibrant 2023 Summer collection glows with optimism inspired by the colors of summer and the season’s sociable warm evenings, represented by five new lights designed by four emerging, international designers.

Field Trip Table Light by Joey Zeledón: A portable task light incorporating a sleek caddy in its base to transform any corner of the home into a space for learning. Zeledón designed the light in response to the difficulties many encountered during the pandemic in attempting to establish a working space in any available corner of their homes. The empathetic spirit of the design should be no surprise considering the designer is also the author of Touchy/Feely, a book about emotional ergonomics.

Fieldtrip lamp in green with caddy base and white cord.

Field Trip Table Light is available in three vibrant colorways: Sunrise (yellow), Sage (green), and Blossom (pink). It retails for $248.

Close-up of Fieldtrip lamp's caddy base.

Figra wall lamp glowing softly over a grey sofa.

Figra Table and Wall Lights by Simon Schmitz: Figra presents a juxtaposition of forms, a sculptural balance act between a cylindrical shade intersecting with a sizable block base. The unconventional geometry lends both a visual heft and a literal stable base.

Grey Figra table lamp from side view

The Figra Table Light (top) and Figra Wall Light (bottom) are both available in three colorways: Fog (light gray), Canyon (burnt red), and Midnight (deep blue); the Wall Light retails for $248 and Table Light retails for $198.

Dark blue Figra wall lamp from side view

Yellow macaron shaped table lamp set on orange-red circular side table next to off white sofa.

Macaron Table Light by Romulo Temigue: Taking its form from that most beloved of Parisian treats, Brazilian designer Romulo Temigue’s Macaron looks every bit its tasty namesake. The sandwiched 360º diffuser glows with an ambient luminescence that we imagine would work its glowing best set upon a side table or bedside as the last light you turn off before inviting sleep.

Side view of yellow Macaron table light.

Macaron Table Light is available in three colorways Sunset (yellow), Forest (dark green), and Stone (light gray). It retails for $248.

Top angled view of white Macaron table light.

Large light bulb shaped table lamp set in bedroom corner glowing softly as mood light.

Squish Table Light by BEBOP: Just as it may take a village to raise a child, so too did the collective talents of designers spanning Seoul and San Francisco come together to develop the softly tactile reinterpretation of the light as an amorphous silhouette – a primordial oversized light bulb imagined to glow warmly in a corner of a nightstand or small apartment home office.

Top angle view of Squish table light

Squish Table Light is available in one classic colorway, Sand (white), and retails for $198.

Side front view of Squish table light

Gantri Founder & CEO, Ian Yang describes the whimsical collection as lights imagined to illuminate spirits as effectively as the spaces in which they’ll eventually come to occupy. “These designs [are] about brightening lives, sparking conversations, and encouraging a more thoughtful way of living.”

For more on the Summer 2023 Independent Creator Release collection, head to gantri.com.

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Gregory Han is the Managing Editor of Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

Cullum’s Notebook: Four artists reflect on America’s rapidly changing culture

Cullum’s Notebook: Four artists reflect on America’s rapidly changing culture

Four Atlanta-based artists, all in their early 30s, are currently having shows that offer unusually revealing reflections on the range of today’s American cultural styles in a city and region that’s changing faster than many feel they can keep up with.

If it weren’t for the portentous title written on hand-lettered signs in Evan Jones’ Destruction Derby Dreamland, at Thomas Deans Fine Art through July 12, and the fact that the show opens with a triptych titled The USA on Fire, it would be easy to assume that this is a straightforward celebration of a particular strain of American culture. Tightly rendered paintings of stock cars and loosely rendered portraits of NASCAR race drivers abound.

Jones’ “An Appeal to Heaven” features tree-shaped air fresheners.

But before visitors reach the gallery containing these artworks, they are confronted with I Never Paid a Dime and I Got My Money’s Worth. Here an iconic Elvis is posed against the clouds of the Challenger shuttle explosion, his image flanked at the margins by the word that forms the title of one of his movies, Girls! Girls! Girls!

This theme of unrestrained self-destruction is echoed in a painting that repeats the exhibition title. In Destruction Derby Dreamland, a provocatively dressed young woman is shown against the backdrop of the carnival-poster flames first seen in The USA on Fire, with the words “THRILL RIDE!” and aggressive American eagles as additional decorations.

The paintings’ apparent braggadocio is tinged with subtle ambiguity. For example, a Revolutionary War flag’s pine tree emblem is replaced with tree-shaped air fresheners in An Appeal to Heaven. Those are the words written above the tree on the original flag and above the heroically posed car that is the central feature of the painting.

Jones’ “Sunset in the West”

The most conceptually challenging painting in the show is Sunset in the West, in which Caravaggio’s half-clad Bacchus dominates the foreground, framed in grape leaves against a luridly tinted sunset.

Above him are two iconic bull-riding cowboys facing one another. The cowboy mounted on the white bull wears a black hat, and the one on the black bull wears a white hat.

Thanks to a succession of differently portentous paintings featuring contested aspects of present-day American culture, the show turns into a Rorschach test: What the viewer reads into it says more about the viewer than about the artist’s intent.

At Whitespace Gallery through August 5, Charlie Watts’ Entangled presents large-scale photographs of people of various ethnicities (alone or in pairs) nestled in nonsexual nakedness in the greenery of metro Atlanta’s Weelaunee Forest – or in a body of water in the same location.

The lushly inviting woodland is the hotly contested site of what’s now known as Cop City, Atlanta’s projected police training site. That goes unmentioned, however, in this gentle evocation of human beings finding a form of renewed harmony with the natural world that still surrounds them. Watts describes her rapidly changing native city as “a fragile, interdependent, entangled world.”

Also through August 5, Whitespace’s Whitespec project room is filled with the paintings in Aineki Traverso’s No te elcanzon los ojos. Translated as “your eyes are not sufficient,” the title denotes what Traverso describes as “a beauty that transcends sight.”

Aineki Traverso
“This Will Happen” by Aineki Traverso (courtesy of Whitespace Gallery)

The works are sources of mystery, paintings of her own eyes, traced with her eyes closed, and other fragmentary glimpses of an interior vision that she calls “a world too overwhelming to experience.” They are apt symbols for the complexity of her origin as the daughter of an Argentinian mother and an American father of Chinese and Japanese descent. She is increasingly recognized in this city of entangled ethnicities, being the 2024 winner of Forward Arts Foundation’s Edge Award.

Hannah Adair’s Chapel in the free-standing Shedspace in the garden adjacent to Whitespace Gallery, both questions and honors the ubiquitous small religious spaces of the rural Southern environment. Most of these tiny, unobtrusive buildings represent various Christian denominations with small congregations, but the landscape also holds similarly structured chapels, nondenominational but available for prayer, wedding ceremonies and other moments of ritual.

Hannah Adair
An image from Adair’s exhibit “Chapel”

Fascinated by the forms of arched windows and church bells, Adair has transformed the Shed with ceramic representations of both, but adorned with images from nature instead of religious symbolism.

Do these forms seem to create a contemplative mood because of past experience of such spaces, or do they induce contemplation in and of themselves?

Whatever the answer, Adair has evoked a quiet spiritual dimension that is as much a part of the Southern environment as the demonstrative brand of display that is all over Jones’ exhibition. And both exist amid the increasingly complicated interplay of nature and culture that is an intrinsic part of Watts’ and Traverso’s work.

::

Dr. Jerry Cullum’s reviews and essays have appeared in Art Papers magazine, Raw VisionArt in AmericaARTnewsInternational Review of African American Art and many other popular and scholarly journals. In 2020, he was awarded the Rabkin Prize for his outstanding contribution to arts journalism. 

More headshot sessions available with the Office of University Relations Photography Studio

More headshot sessions available with the Office of University Relations Photography Studio

The Office of University Relations Photography Studio invites faculty and staff to schedule a free session to update your professional headshot. New sessions have been added on: 

  • Tuesday, July 11 
  • Thursday, July 20 
  • Monday, July 24 
  • Tuesday, Aug. 1 
  • Tuesday, Aug. 8 

Marquette University uses professional staff and faculty headshots in various vehicles, including Marquette Today, Marquette Magazine, news releases and social media, among other outlets. It’s helpful to keep these photos up-to-date, high-quality and standardized across the institution.  

After your headshot session, participants will receive a copy of their chosen photo for their own use as well. OUR recommends sharing your photo with your department for website updates and updating your LinkedIn profile. Photos will also be available to the college’s respective communication specialists.

Use the online scheduling tool to schedule your appointment. Begin by identifying which service you are scheduling to see available time slots. Once you have selected a day and time, scroll down on the screen to add your name, email and Marquette department or organization. Click “Book” to secure your day and time. More dates and times will be added throughout the academic year. 

Headshot sessions are held in the OUR Photography Studio in Zilber Hall. Your session will be 20 minutes in duration and will include time for you to be photographed and to view and select your final image for further editing. After creating an appointment, you will receive a confirmation email with a calendar invitation, both of which include helpful details to prepare you for your session. A reminder notification will also be sent.  

If you have any questions, please email OUR.

Green River native claims ‘Best in Show’ at Sweetwater Plein Air Competition

Green River native claims ‘Best in Show’ at Sweetwater Plein Air Competition
image

ROCK SPRINGS – Bright and early on Saturday, June 24, downtown Rock Springs was the location that many local artists drew inspiration from concerning their pieces for the second annual Sweetwater Plein Air Competition.

The artists participating in the competition were tasked with creating a painting of a location within downtown Rock Springs. They were also tasked with a time constraint of completing the paintings by 2 p.m.

Improve Your iPhone Photography With ShiftCam’s Anamorphic Lens, Selfie Sticks And Tripods

Improve Your iPhone Photography With ShiftCam’s Anamorphic Lens, Selfie Sticks And Tripods

ShiftCam accessories take your iPhone photography skills to the moon!

Believe it or not, your iPhone’s camera has limitations, but certain lens attachments, filters, and expertly crafted grip cases from ShiftCam can take your photography skills to a whole new level. They have an entire line of specialized external lenses, from a 16mm wide-angle to a 1.55x anamorphic lens that will send the clarity and range of your photos to the award stands.

SnapGrip | $70 | ShiftCam

ProGrip is a magnetic phone grip built with phone cameras in mind that doubles as a power bank.

Take photos and video all day long with the ProGrip from ShiftCam that ergonomically lets you stream, carry your phone, and charge through hours-long sessions. The layout rests your fingers and palm in just the right places to keep your hand steady, plus it provides a free-standing charging dock to charge your phone and AirPods or other devices at the same time. Snap into the ProGrip Starter Kit at $149 and keep your hands steady and balanced while taking the best photos ever with your iPhone paired with stunning filters for exceptional results!

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ShiftCam’s SnapGrip bundle includes a tripod/selfie stick, phone grip powerbank, & LED Ring Light for your phone.

Ready to pull it all together for the ultimate bundle? You got it with the SnapGrip Creator Kit bundle at just $129! An all-in-one system that works seamlessly in multiple super cute colors and MagSafe compatible to combine the SnapGrip, SnapPod for an easy mount option, and SnapLight to keep all your streams and photos super bright so you’re always looking your best!

The new LensUltra series range from telephoto lens to macro lens to anamorphic lens.

If you’ve ever feel like your photos can use an upgrade without fiddling with all the software options, you’ll want to check out ShiftCam’s full LensUltra series. Crafted from Flourite with multiple layers of coating, these lenses and filters reduce color fringing to enhance each and every photo, even in the most difficult situations. Macro lenses like their 75mm long-range let you take stunning photos of bugs, flowers, and anything where you need to capture details the iPhone just can’t handle alone.

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The TravelPods are selfie sticks & tripods built for the photographer on the go.

Looking for some space between you and your favorite iPhone when taking photos or streaming on a hike, the TravelPod series has you covered with three standard options, all ready for traveling to summer events. First, you have the selfie TravelPod with a connected magnetic Bluetooth remote control for ease of use. For more stable use to keep the balance in place, choose the TravelPod Pro or TravelPod Mini with a specialized hand grip for added versatility.

VELUX Living Places Copenhagen: An Experimental Living Environment

VELUX Living Places Copenhagen: An Experimental Living Environment

It’s easy to sit back and wait for the right technology to come along to help us help the planet – but maybe we should stop waiting and move forward regardless. How we construct and transform buildings today has an enormous impact on people and communities, as well as the ecosystems that will sustain us tomorrow. The holistic indoor climates created in the process can also play a crucial role in our day-to-day wellness.

Welcome to Living Places Copenhagen, a conceptual living environment that demonstrates how we can improve peoples’ lives – indoor and out – by making better building choices. Located in Jernbanebyen, and brought to life by VELUX, in partnership with EFFEKT, Artelia, and Enemærke & Petersen, Living Places aptly displays how to build sustainably and rethink current processes, while also challenging the industry to speed up innovations and the implementation of responsible, sustainable building solutions.

CLT House Photo: Adam Mørk

light wood sparse interior space

CLT House Photo: Adam Mørk

You might be thinking, “This all sounds great, but what proof do they have?” Well, Living Places has Denmark’s lowest CO2 footprint and a first-class indoor climate, proving that we don’t have to wait for future technology to make better decisions for ourselves and the environment right now. With this experimental mindset at the forefront, the brand partners carefully considered each material, design, and building technique to reduce the environmental impact and improve human health. It all begins with five principles: Healthy, Shared, Simple, Adaptive, and Scalable.

light wood hallway

Timberframe House Photo: Adam Mørk

light wood office

Timberframe House Photo: Adam Mørk

The exhibition mapped emissions projections against the typical Danish house and built the first Living Places project, an exhibition that includes seven prototypes – five open pavilions and two finished full-scale houses – sharing their take on healthy, sustainable homes. Each prototype has its own program that’s been curated to show how we live in homes, in communities, and the role of buildings within the larger picture. By analyzing all stages of the building’s life cycle and understanding the implication of every single design choice, Living Places achieved three times lower carbon footprint emissions and a first-class indoor climate with existing technology.

light wood interior space with cabinets

CLT House Photo: Adam Mørk

light wood office

Timberframe House Photo: Adam Mørk

Did you know that we spend 90% of our time indoors? How our homes are built can affect our physical and mental health on every level. Aside from creating a better living environment for our planet, Living Places is simultaneously forging a path towards a future-oriented society that enhances living conditions for people through an emphasis on Daylight, Thermal Environment, Indoor Air Quality, Acoustics, and Outdoor Connection. By rethinking the way we build, we can potentially have a big impact on the construction industry as a whole.

light wood bedroom

CLT House Photo: Adam Mørk

light wood dining space

CLT House Photo: Adam Mørk

Starting from the ground up, each building component has been optimized for the best price, indoor climate, and carbon footprint, with special focus given to the elements of the building where significant CO2 savings can be achieved. The concept has already received third party verification from AAU BUILD to have a 3x lower CO2 footprint than an average Danish single-family house at 3.8 kg CO2 eq/m2/year.

light wood simple structure with one window and one door

Timberframe House Photo: Adam Mørk

light wood kitchen and dining space

Timberframe House Photo: Adam Mørk

Diagrams show that if Denmark were to build all single-family homes, row houses, and double houses – like Living Places – approximately one million tons of CO2 could be saved every year. It would mark a significant contribution to the country’s climate goals that commit to cutting emissions by 70% by 2030. In order to achieve this goal, the building sector needs to reduce CO2 emissions by 5.8 million tons – Living Places would reduce emissions from the industry by 17% on its own. The project has a pioneering commitment to become Lifetime Carbon Neutral by 2041, taking responsibility for both past and future carbon emissions. So, think bigger. What would be the result if this experiment were put into action worldwide?

light wood simple structure with two skylights and one door

Timberframe House Photo: Adam Mørk

colorful round graphic graph

The Compass Model

The foundation for Living Places is the Compass Model, a free tool created by EFFEKT Architects and VELUX that offers a simple, holistic framework for the planning, ideation, and design of sustainable buildings. The strategic tool outlines seven drivers to help guide the development and building process: Affordable, Local, Flexible, Quality, Environment, Community, and Health. Ultimately, the Compass Model provides collaborators across sectors a framework to follow and building principles to create homes that holistically benefit people and the planet. It can also highlight areas where research is needed, provide an overview of decision implications, and reflect influential design drivers throughout the process.

The Compass Model helps navigate the complex, multifaceted process by assisting designers in making informed, strategic decisions through three incremental steps. First, each new project begins with an evaluation of the ‘Strategic Drivers’ that are most pertinent and can ensure the greatest positive impact. Second, project teams then use 24 ‘Design Drivers’ as input for the concept development based on the brief and needs of the project. Lastly, a set of ‘Performance Drivers’ provides targeted solutions and strategies for the more advanced stages of design.

light wood bedroom

Timberframe House Photo: Adam Mørk

light wood open living space

Timberframe House Photo: Adam Mørk

Living Places also includes the vision and knowledge needed to meet the holistic requirements – biodiversity, local culture, and location – of an Active House. An Active House is evaluated using the three main principles of comfort, energy, and environment. Performance is then measured using the Active House Radar, revealing the level of ambition of each main criteria and its sub-parameters. For a building to be considered an Active House, the level of ambition can be quantified into four levels, where one is the highest level, and four is the lowest and should be equal to or higher than four. Living Places includes all nine parameters of Active House and recommends nearly the best level for each.

light wood open living space

Timberframe House Photo: Adam Mørk

light wood simple structure with one window and one door

CLT House Photo: Adam Mørk

With the building industry accounting for 34% of global energy consumption and 37% of CO2 emissions, the time for action is now. Homes built using the Living Places principles can be constructed at Danish market cost price, whether as single-family homes, row houses, or multifamily units. The next big step will be building the first full-scale Living Places community outside of Copenhagen in 2024/2025.

Living Places Copenhagen is now open and ready to be explored. Visit the exhibition in Jernbanebyen and experience it for yourself! Explore more at buildforlife.velux.com.

Kelly Beall is senior editor at Design Milk. The Pittsburgh-based graphic designer and writer has had a deep love of art and design for as long as she can remember, and enjoys sharing her finds with others. When undistracted by great art and design, she can be found making a mess in the kitchen, consuming as much information as possible, or on the couch with her three pets. Find her @designcrush on social.

Midtown Sculpture Garden Plans Finalized

Midtown Sculpture Garden Plans Finalized
Holdrege, Neb. — A committee has finalized plans to create a sculpture park and public gathering place to enhance downtown Holdrege. The Midtown Sculpture Garden will be constructed at 710 4th Avenue…