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.
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.
Inspired by the idea of transporting the body and mind, and by the station as an excavation site, Ken Gonzales-Day‘s glass-tile mural for the north and south concourse level walls aims to transport transit customers across time and place by immersing them in an environment where images of objects—spanning many cultures, continents and eras—mined from the Los Angeles County Museum of Art’s permanent collection are reproduced at an enormous scale.
This site-specific project will consist of hundreds of small, metal, multicolored components that will be woven, cross stitch-like, into the building’s façade, creating a complex, abstracted landscape that will colorfully weave its way around part of the building.
For her artwork, Andrea Bowers will imbue the glass walls of the station’s entrance pavilion with messages of unity and democracy through her translation of the slogans “El pueblo unido jamás será vencido” (The people united will never be divided) and “By independence we mean the right to self-determination, self-government and freedom.”
Ann Hamilton’s artwork will wrap the station’s glass entry pavilion in woven lines inspired by the significance of the station’s downtown location and the surrounding hub of cultural institutions as a place of crossings, intersections and exchanges.
Mark Steven Greenfield’s glass mosaic, titled Red Car Requiem, for the station’s concourse will be a sentimental tribute to Los Angeles’s historic Pacific Electric Red Cars, a once iconic fixture in the city.
Fran Siegel’s artwork for this underground station will consist of layered sequences from the surrounding landscape, above and below ground.
Soo Kim’s artwork concept for the station platform cuts and collages her photographs of the dense, urban topography along the Wilshire corridor with images she has captured throughout the world.
Titled Negative Space (STScI-2015-02), Mungo Thomson’s two murals for this subway platform evolved from a series of artworks in which he digitally inverts astronomical images from the Hubble Space Telescope’s online photographic archive.
Mark Dean Veca’s artwork concept for the station platform draws from the art deco details of the nearby Wilshire Tower building and the past and present geology of the Miracle Mile neighborhood through stylistic references to barley fields and tar.
Todd Gray’s artwork concept for the station’s glass entrance plaza and escalator landing walls juxtaposes archival architectural drawings by S. Charles Lee and historic photographs of the nearby Saban Theatre (formerly the Fox Wilshire Theatre) with a multicultural selection of iconic textile patterns.
With particular emphasis on the often-overlooked migrations of Black Americans, Clarence Williams’s deeply personal artwork, Migrations, for the platform of this downtown station pays tribute to the area’s legacy as a place where scores of migrants first made their way to Los Angeles.
Inspired by the geometric details of the art deco architecture along the Wilshire corridor and in greater Los Angeles, Eamon Ore-Giron’s artwork concept for the glass entrance pavilion and escalator landing walls of this station references the past while looking toward the rapidly changing future of Los Angeles’s streetscape.
Reflecting upon the geological, anthropological and cultural histories of the region served by the station, Pearl C. Hsiung’s artwork High Prismatic depicts an explosive, colorful gesture arising out of an infinitely roiling landscape toward a spray-tinted, celestial expanse.
Clare Rojas’s artwork will honor the presence of the natural world within the urban landscape and highlight humanity’s shared rhythm with the land, water, and sky.
Karl Haendel’s larger-than-life composition for the glass entrance pavilion and escalator landing walls of this station will provide prompts for transit customers to engage with their surroundings and reflect on their daily experiences.
Mariana Castillo Deball‘s artwork for the Wilshire/La Cienega Station is comprised of four landscape images integrated into two collages that run along the north and south walls of the station concourse.
Artists Kuniharu Yoshida and Susu Attar, along with the Japanese American Cultural & Community Center (JACCC) and Metro Art, designed temporary construction banners for the Metro Center Project site.