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.
In this series of artworks, clothing represents both the commuter and the commute. Art panels above gateways reveal open closets full of clothes.
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.
At Jefferson/USC Station, Samuel Rodriguez weaves a visual narrative that includes fragments of building facades, vintage rail cars, human figures, and fictional characters. Each art panel is visually divided by the silhouette of bike frames, the layout of a comic book.
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.
In “Unknowable Origins” by artist Tom LaDuke, softly rendered painterly views of Culver City as seen from surrounding hillside viewpoints frame the entry to the Culver City Station.
Playing with scale and our imagination, the metaphor of discovery and wonder is discovered here in the form of transportation, where the light rail becomes the “looking glass” into the undiscovered world.
Project Description A sea of faces welcomes visitors to the station, a broad cultural mix of individuals who define life in the neighborhood. Dierdorff populated the station with intimate portraits of fronts and backs of heads as a commentary on public transportation, where people from many walks of life are removed from their personal spaces and find themselves in close physical proximity with strangers. The twelve individuals portrayed were photographed in locations that describe their role within the larger community. A variety of professions are represented, including a firefighter, a baker, a hat maker, and a mechanic, among others. Artist Statement “This sea of wondrous faces is Metro. Metro is not about people, Metro is people – thousands and thousands of different people every day. Each with their own story, their own worries, their own triumphs and their own tragedies – each different, each rare, each unique and each irreplaceable. The people who ride Metro every day are the same people from your favorite memory. They are your grandmother, your mother, your sister and your …
The sculpture’s monumental sandstone and hand-formed glass recall Kuruvungna, Saint Monica, the Crying Rock and the Palisades at the center of Downtown Santa Monica. Gold paint and climbing white roses adorn the station wall, glowing in the afternoon light, inviting pedestrians to weave through the sculpture and feel the awe of nature and heft of memory.
Inspired by the classic style of the Anasazi, Maya and Aztec Pre-Columbian cultures, the artwork is infused with a modern sensibility and stands as a metaphor for the relationship between nature, society and the sacred.
Project Description Just as this aerial station provides views of the surrounding areas, the artworks present aerial views of local neighborhoods, depicted in an intricate series of colored pencil drawings. Drawn from photographs that were shot from a helicopter hovering above the city, the images present the structured landscape of the area punctuated with identifiable landmarks. Seen as a body of work, the group of eight art panels reveal a patchwork of growth and development that describe an ever changing civic infrastructure. Artist Statement “While waiting in the station, passengers will be able to see certain landmarks and to get a sense of where they are in a large, dense landscape. The handmade quality of my drawings reflects on the idea that our cities are places that we create and care for together.” About the Artist SUSAN LOGORECI has completed public art projects for the Los Angeles International Airport and City National Bank. Her work has been exhibited at venues such as the Museum of Contemporary Art Minsk, Torrance Art Museum, Angels Gate Cultural Center and …
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.
Artworks on gateway arches depict the legs of travelers headed to their destinations: a business professional with her rolling briefcase, a parent with a stroller and a hummingbird in flight.
Flick presents the landscape of the major streets surrounding Expo Park/ USC Station as a stream of images one might encounter through the window of a moving vehicle.
The final artwork–based on hundreds of photographs taken by the artist in the neighborhood–shares with Metro riders the gardens, front porches, living rooms and street life of area residents.
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.
Project Description The primary artwork features a series of aluminum almond shaped panels that echo the shape of the platform canopy. The panels contain images from the past and present-day Boyle Heights community, and are cut out to depict images of historic transit tokens and landmarks in a style reminiscent of papel picado (cut paper) and Japanese wood block prints. Laminated glass canopy skylights also include artist selected images of local history and iconic travel imagery. On the west end of the station landscape area, large metal sculptures forming the words “TO…”, evokes the famed Hollywood sign and creates a new landmark. Artist Statement “I am striving to create an exciting day environment. I was inspired by images of transportation tokens from all transit periods in Los Angeles and how this element of our collective histories carries with it personal stories of travel. I intend to use local architectural landmarks which will also bring a familiar image of travel to the station experience.” About the Artist JOSE LOPEZ is nationally recognized for his innovative light-based designs, creating stage …
While these collected discards are often overlooked by passersby, the artist re-presents these materials as the central focus of the landscapes, suggesting that they reveal potential narratives about the people who frequent the area. 26th St/Bergamot Station is located in close proximity to Bergamot Station Arts Center, a major hub for artistic activity.
Located in the heart of Boyle Heights, the artist’s goal is to create a focal communal space for the multi-generational communities of the area. Images of birds, alluding to migration and travel is the theme throughout portions of the plaza, escalator walls and mezzanine.
By weaving cultural identifiers with elements that denote the passage of time, artworks create a sense of shared place and historical significance that honors the heritage of the local, the immigrant and the tourist alike.
Jose Lozano’s LA Metro Lotería plays with the station name “La Brea,” retaining the Spanish language prefixes “La,” “El,” or “Los,” and substituting “Brea” with passenger interactions commonly encountered while riding Metro.
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.
The shape, history and beauty of hands and the sacred objects they hold provides a glimpse into rich and unexpected personal stories from the neighborhood surrounding Mariachi Plaza Station.