At Grand Station, artist Mark Lere’s project “Who, What, Where?” consists of a series of images sandblasted into the platform pavement.
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.
Thomas Eatherton’s “Unity” located on the A Line (Blue) tunnel walls between 7th Street/Metro Center Station and Pico Station was the first art work to be installed in the system.
With Twelve Principles, Joe Lewis seeks to emphasize shared values that exist in a world full of differences.
Robin Brailsford’s Time and Presence at Pico Station examines the disparity between human scale and the vastness of the earth and the cosmos.
Installed at eye level along the platform walls of 7th/Metro Center Station, Joyce Kozloff’s two long and narrow hand painted ceramic tile murals, The Movies: Fantasies, and The Movies: Spectacles, resemble an unfolding film strip.
At the two levels of Slauson Station, artist collaborative group East Los Streetscapers examines the culture and history of the neighborhood of the station in “South Central Suite.”
A new series of sculptural parasols titled “Second Line” by artists Jamex and Einar de la Torre front the new Rosa Parks Customer Center and offer shade and enjoyment for the community at future events.
A mythical continuous stream winds through Magic Johnson Park alongside the local icons and characters who serve as hallmarks of a place in which the artist finds “home.”
Contributing to the excitement and energy of the station is “Running for the Blue Line” by Elliott Pinkney, a group of three metal cut out figures that gives the work its name and captures the hard-working spirit of this industrial community.
The artist team- Kipp Kobayashi, Noel Korten and Marta Perlas, AIA – created seating environments that produce a strong visual and functional experience for Metro riders at 7th/Metro Center Station, influenced by historic Batchelder tiles in the nearby Fine Arts Building.
At Willowbrook/Rosa Parks Station, artists Michael Massenburg and Robin Strayhorn created 5 seating areas out of concrete and ceramic tile, each seat honoring an important year in the life of Rosa Parks.
“Out of Sight” by Merge Conceptual Design at Willow Street Station consists of a stunning glass canopy and concrete benches. The translucent glass panels are slanted to depict a photo image of a willow tree in the south direction, and a photo image of the web of catenary wires that power the rail system as seen from the north direction.
Local Odysseys, Terry Braunstein’s project for the Anaheim Station, is a series of fourteen photo-montages that have been fabricated into porcelain enamel panels dealing with community, values, and travel.
Rowe’s installation at San Pedro Station employs a variety of elements honoring the struggle to succeed of the many immigrant groups in the neighborhood.
Located above the escalator at the Hope Street entrance to the Metro Center Station, “Heaven to Earth” is a ceramic tile triptych with strong allegorical content.
Jacqueline Dreager’s work for Wardlow Station, Great Gathering Place, takes its title from Puvunga, the Chumash name for this area
Jim Isermann’s Failed Ideals is composed of six stained-glass windows installed into the portholes of the station pylons.
Mendoza designed colorful and dynamic ceramic work as the finish of the columns on the lower level of Firestone Station where passengers make bus/rail connections.
Colin Gray created a decorative cast-stone cartwheel of approximately nine feet in diameter which is placed upright in the center of the station platform.
Eva Cockcroft’s ceramic tile murals examine the Compton area’s past, present, and future, with particular emphasis on the arrival of the various ethnic groups (African American, Latino and Samoan) that have contributed to the character of the city.
Paul Tzanetopoulos has long been fascinated by the seemingly infinite variety of pattern in cultural artifacts, often evident in textile designs. In this project, Breezy and Delightful , the artist focuses on designs which reflect the unique cultural heritage of the many groups that live and work in Long Beach.
“Blue Line Totems in Red” is Roberto Salas’s tribute to the historic Red Cars of the Pacific Electric Railway. The key element of the project is a series of red “totems” mounted on the platform columns and perforated with designs taken from the 1,100 unique shapes used by conductors to punch tickets on the old Red Cars.
Blue Line Oasis consists of several art elements. A large mosaic and stone “well” greets passengers as they enter the station.
Patrick Mohr’s “Angel Train” is a metaphor for the spiritual journey we all take during the course of our lives, merging the architectural past of downtown Long Beach and the journey of the commuter with the invisible poetic world of fantasy.