Jose Lozano standing in front of an art panel before it’s installed
Jose Lozano presents a series of Lotería cards, based on a Mexican game of chance, in his artwork for Expo/La Brea Station.
Similar to Bingo, Lotería uses images on a deck of cards instead of numbers. In text at the bottom of the cards, Lozano plays with the station name “La Brea,” keeping the Spanish language prefixes “La,” “El,” or “Los,” and substituting “Brea” with passenger interactions commonly encountered while riding Metro.
Each of the eight art panels portrays a different scene: “El Luggage” shows a smiling man surrounded by overstuffed luggage, “La Prisa” (the hurry) shows a mother and child walking quickly across a platform. (Here’s a link to more information about Lozano’s work for Expo/La Brea Station.)
Original design for one of the 8 art panels (seen above with the artist) comprising LA Metro Lotería at Expo/La Brea Station
Detail of LA Metro Lotería, displaying “Los Stairs” and “La Nurse,” at the artwork fabricator, Winsor Fireform.
Detail of LA Metro Lotería, displaying “Los Romantics” and “Los Metro Guys,” at the artwork fabricator, Winsor Fireform.
More photos of the artwork being installed at the station are after the jump.
Original design for one of the 20 art panels comprising Urban Dualities at Jefferson/USC Station. Unusual juxtapositions—an arm sticking out of a car window, a man riding a bike and a mythical amphibian-like creature—are intended to capture both literal images seen while traveling on public transit and those inside riders’ daydreaming minds.
Samuel Rodriguez presents images with fragments of building facades, vintage rail cars, human figures, and fictional characters in his artwork for the Expo Line’s Jefferson/USC Station.
Each of the 20 art panels is visually divided by the silhouette of bike frame parts, resembling the layout of a comic book. The artist chose bicycle imagery to emphasize the human-powered modes of transportation alongside the rail line. Each panel is an invitation to engage the mind in a playful fantasy along the route between starting point and destination. (Here’s a link to more information about Rodriguez’s work for Jefferson/USC Station.)
Hand-glazed ceramic tiles are matched to the artist’s original artwork designs at the mosaic fabricator, Mosaïka Art & Design.
Highly skilled artisans at Mosaïka Art & Design cut each piece of hand-glazed ceramic tile into tiny mosaics and place them into art panels.
Many more photos are posted after the jump…
Art panel above seating area picturing James Achucarro, a boy from the neighborhood, and Soon Cho, owner of Cho Orchids. The reverse side of the panel shows the back and front of their respective heads.
The Intimacy of Place features a sea of faces representing a broad cultural mix of individuals who live and work in the 23rd Street station area. Taking advantage of the double-sided art panel configuration, Dierdorff populated the station with intimate portraits of fronts and backs of heads. His intent is to comment on the nature of public transportation, where people from many walks of life find themselves in close physical proximity with strangers.
The artwork portrays twelve individuals who were photographed in locations that describe their role within the larger community. A variety of professions are represented, including a hat maker, baker,firefighter and mechanic, among others.
Here’s a link to more information about Dierdorff’s work for 23rd Street Station and more photos are after the jump.
The artwork honors the area’s rich history of horse-keeping. This galloping horse imagery was recently translated by Perdomo, the artwork fabricator, into a 27-foot long elliptical glass mosaic artwork.
Lisa Adams’ artwork for Chatsworth Station monumentalizes the Northwest San Fernando Valley’s landscape and equestrian lifestyle in the forms of native flowers and galloping horses. The imagery was recently fabricated by teams of artisans who translated Lisa’s original artworks into the durable materials of porcelain enamel steel and glass mosaic.
(Here’s a link to more information about Lisa’s work for Chatsworth Station.)
There are more images of the artwork after the jump. Continue reading
Bags of glass mosaic pieces created at Perdomo, the artwork fabricator, ready to be assembled into the mosaic artwork. All images courtesy the artist.
Ken Gonzales Day’s artwork presents kaleidoscopic views of native manzanita and oak trees, inviting passengers to find shapes and faces hidden within the patterns at Canoga Station for the Orange Line Extension. These images are currently being translated into two 27-foot long elliptical stone and glass mosaic artworks, which will be embedded into the new concrete platforms being added at the Canoga station. (Here’s a link to more information about Ken.)
There are more photos of the artwork being assembled after the jump.
Bus rapid transit in Los Angeles began with the El Monte Busway, which broke ground 40 years ago this week.
Today BRT in L.A. has expanded to several other transportation corridors, but this is the original, the grand-daddy of them all: The first multi-modal system in California and the first dedicated BRT station in the world.
While some things have changed (the draft environmental impact statement was only 17 pages long, and the El Monte Busway is now part of Silver Line service), the busway is as popular as ever.
Forty years later, daily ridership has grown from 12,000 to an estimated 40,000 as new terminals are planned for both El Monte and downtown Los Angeles.
The story and images of this historic transit line are up on the Metro Library’s Primary Resources Blog.
Plans for a Westside subway go back — way back.
On January 12, 1962, ground test drilling for the subway portion of the proposed Backbone Route between downtown and yet-to-be-built Century City got underway.
Governor Pat Brown, Los Angeles Mayor Sam Yorty and Los Angeles County Board of Supervisors Chairman Ernest E. Debs were all on hand.
Two weeks later, Beverly Hills Mayor Jack Freeman oversaw groundbreaking for soil tests near Wilshire Boulevard and Linden Drive.
The subway was obviously never constructed, so head on over to the Metro Library’s Primary Resources Blog to find out why — and discover the related nuclear fallout shelter plan and large-capacity helicopters that were on the drawing board as well.
Saturday marks one of the more interesting anniversaries in local transportation history. Forty-nine years ago this weekend, C.M. Gilliss, Executive Director of the Los Angeles Metropolitan Transit Authority, outlined his plan for comprehensive rapid transit in L.A. at the downtown Statler-Hilton Hotel.
His vision included individually-coded credit cards, “magic-eye” fare computers, rail cars with 1960s tailfins bound for planned and soon-to-be-built Century City, and a system reaching all the way to Westwood…to be completed by January, 1968.
The fascinating story, complete with rail station and other futuristic renderings, unfolds on the Metro Library’s Primary Resources blog.
Liquid Light: Flowing into the Future in the process of fabrication; the artist's design is visible on the left and bottom.
Inspired by the sense of possibility around the Roscoe Station, Sam Erenberg sought to incorporate a feeling of forward motion into his artwork.
To convey this Erenberg photographed the area from a moving vehicle at night. His images capture bright streams of light created by traffic lights, brake lights and illuminated signs on major local thoroughfares: Roscoe Boulevard, Canoga Avenue and Topanga Canyon Boulevard.
These images are currently being translated into two 27-foot long elliptical mosaic artworks, which will be embedded into the concrete station platforms. More photos are after the jump and here’s a link to more information about Sam.
photo by Steve Hymon/Metro
Good afternoon, Source Readers. I hope everyone had a nice holiday weekend.
We’ll be posting very lightly this week while I catch up on some other work and prepare for the new year.
As for the above photo, it shows a fairly wide swath of Los Angeles County, the area served by Metro. I shot it at sunset on Christmas Day from an overlook on the Angeles Crest Highway, a few miles up the road from La Canada-Flintridge. That’s downtown L.A. in the foreground, then the Palos Verdes Peninsula and then Catalina Island. That’s a view of more than 50 miles — not bad for Southern California.