“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.
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.
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.
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.
Artist Ries Niemi has created 550 linear feet of hand-wrought fencing for this station, influenced by the historical Art Deco buildings of Pasadena, the Craftsman Style detail of architects Greene & Greene, and the beauty of machines and trains from the Industrial Revolution.
Throughout the 13.7 mile Metro L Line (Gold) route, artist Beth Thielen strategically embossed images she created onto the concrete retaining walls, overpasses, and sound walls along the journey from Union Station to the Sierra Madre Villa Station.
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.
Artist Teddy Sandoval, a longtime resident of Highland Park, has created a gateway with a Victorian flair for the Highland Park area.
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.
Working with local children, artist JoeSam. created Hide-n-Seek, a giant figural game located amid the numerous freeway supporting columns at the site. Throughout the two levels of the Wilmington/Imperial Station (now known as the Willowbrook/Rosa Parks Station)
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.
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.
Jacqueline Dreager’s work for Wardlow Station, Great Gathering Place, takes its title from Puvunga, the Chumash name for this area
Gold Line Bridge serves as a symbolic gateway into the San Gabriel Valley, as well as a tribute to the area landscape and its earliest settlers. Completed in 2012, the 584-foot dual-track bridge spans the eastbound I-210 Freeway in the city of Arcadia.
A 40-foot spire of telescoping steel and bronze ascends into the sky and announces the entry to this station. Prominently appearing on the tower collar is the number 42, which commuters and sports fans alike will recognize in conjunction with the gold baseball as references to Jackie Robinson, a long-time Pasadena resident and the first African American to break the “color line” in professional baseball.
Jim Isermann’s Failed Ideals is composed of six stained-glass windows installed into the portholes of the station pylons.
Artist Pat Ward Williams used people in transit as the subject for her artwork “Everyday People” at the Lake Avenue Station.
Roberto Delgado considered the station’s surrounding communities of Cypress Park, Montecito Heights, Lincoln Heights, and Highland Park and was impressed by the vitality of the people’s Mexican culture.
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.
Lynn Goodpasture’s artwork for this station celebrates the area’s botanical heritage and the individuals who have shaped the surrounding landscape.
