Eileen Cowin aims to spark the imaginations of transit riders through a poetic juxtaposition of photographic vignettes inspired by the potential stories of passersby.
By focusing on the “you are here” signs, the artists slyly suggest that through our imagination we can similarly be “there” as well.
Working 5–9 in the Middle of a Global Panoramic acknowledges the many enterprising commuters pursuing their livelihood amid systemic discrimination.
Wind Bridge is a system of integrated metal panels along the pedestrian bridge connecting a new busway station to Union Station and Patsaouras Transit Plaza.
Metro commissioned two artworks for the Willowbrook/Rosa Parks Station Improvement Project. Artist George Evans metal, multi-panel, photo montage Gifts of Freedom and Knowledge is now viewable in the Rosa Parks Customer Center. A series of sculptural parasols titled Second Line by artists Jamex and Einar De La Torre for the plaza leading to the Rosa Parks Customer Center.
The 14 colorful panels of Audrey Chan’s Will Power Allegory feature fluid vignettes of people and symbols from Los Angeles’ Little Tokyo, Arts District, Skid Row, Bronzeville, and Gabrielino/Tongva Tribe.
This temporary mitigation project was spearheaded by Mario Tamayo, owner of Atlas Bar and Grill at Los Angeles’s Wiltern Theater complex, and coordinated in conjunction with LACE (Los Angeles Contemporary Exhibitions).
At Grand Station, artist Mark Lere’s project “Who, What, Where?” consists of a series of images sandblasted into the platform pavement.
In this series of artworks, clothing represents both the commuter and the commute. Art panels above gateways reveal open closets full of clothes.
Project Description Pat Warner designed terrazzo paving areas and porcelain enamel steel panels for station platforms which reflect Pierce College’s emphasis on agricultural programs. The imagery makes references to nature and horticulture: leaves and tree limbs refer to the natural landscape and the lattice design of overlapping branches refer to espaliering, a traditional method of pruning and training fruit trees. The art panels feature images of birds that have been sited on the campus. Red tailed hawk, mockingbird, and Canada goose are common species that most users of the station will recognize. Western tanagers, western bluebirds and some species of warblers are less common but will be recognized by more observant travelers. Artist Statement “I am always amazed at how much life there is around us, aside from ourselves, when we make the effort to observe.” About the Artist PAT WARNER was born in Lancaster, PA and raised in a Mennonite community in Lancaster County, PA. As a young adult she spent time living in Switzerland and Italy before studying art at the Museum School of …
Ken Gonzales-Day’s Western Imaginary subtly refers to history embedded in the local landscape.
Cliff Garten worked directly with the Preliminary Engineering Design Team to research, analyze and creatively interpret environmental/ historical resources to create a conceptual approach to the overall design continuity of the alignment, opportunities for individual station artists, and a design project that references the historic physical context of the E Line (Expo) Right of Way.
Artist Gayle Gale collaborated with children from nearby elementary schools and neighborhood residents to create We’ve Been Working on the Metro.
Project Description Susan Silton’s We, Our, Us expands on her series investigating the historical use of stripes as social and cultural signifiers, and is motivated by the idea of transit stations as shared public spaces. The porcelain enamel steel artwork for the station platform will include three prescient messages in English, Korean and Spanish—the predominant languages of the neighborhood—embedded within multicolor-striped fields to explore individuality and diversity while acknowledging our collective human experience. Artist Statement “My projects interrupt—in subtle and more overt ways and through combinations of humor, edginess and subterfuge—the assumptions we make based on our observations.” About the Artist SUSAN SILTON (b. 1956, Los Angeles) is an interdisciplinary visual artist whose practice engages with photography, video, installation, performance, artist’s books, sound and language. Silton’s work takes form in performative and participatory-based projects, photography, video, installation, text/audio works, and print-based projects, and presents in diverse contexts such as public sites, social network platforms, and traditional galleries and institutions. She earned a bachelor’s degree from the University of California, Los Angeles, and studied at Art Center College of Design. Her work has been presented at numerous national and international venues that include the …
We Ride Together features snapshots of the artist’s last night out on the train with friends before the COVID-19 lockdown.
We ride the train toward memories of beautiful travelsis inspired by their enduring connection to Metro and soulful bond that evolved with time and age.
Twelve Venetian glass mosaic panels installed at the Pacific Station have been designed by artist June Edmonds and are titled, We Know Who We Are.
We Are The Heritage reflects the importance of preserving one’s cultural heritage.
Located near the confluence of the Arroyo Seco and the Los Angeles River, the Lincoln/Cypress station location for “Water Street: River of Dreams” provided artist Cheri Gaulke with an important reference for that she used to metaphorically connect the Gabrielino (Tongva) Indians who once inhabited the area with a contemporary flowing landscape.
More than 650 residents of the cities of Downey, Bellflower and Paramount contributed to artist Erika Rothenberg’s “Wall of (Un)Fame.”
Wall of Concrete depicts the artist’s daughter and includes elements that celebrate the street art that is prevalent between the cities of Long Beach and Los Angeles.
These stunning images of walls, rails and signage encourage commuters to become more visually engaged with their surroundings. The artist has used a grainy film to enhance the idea of how a passenger’s glance may commit a fleeting detail to memory.
Vovó Santinha is a portrait of the artist’s Brazilian grandmother, whom the she would often think of on her commute.
Visionary conveys the invaluable time afforded by public transit to contemplate the past and present, and envision the future.
Photographs document performers in an implied visual opera. Performers attempt to engage the viewer by presenting a range of characters cast within the urban environment of downtown Los Angeles.