![]() “The reason why I included it within the idea of migration is because that’s the day my father passed away,” Williams says, his voice heavy with emotion. One picture notably approaches the essay’s narrative differently: It’s of Williams’ parents, a year before Hurricane Katrina. Beside the floating New Orleans boat, is: All of Williams’ images are paired with haiku poems that his close childhood friend, poet and spoken word recording artist Ursula Rucker, wrote for the piece. There’s an elder Armenian woman, a Korean Jewish baby, a Somalian American student. residents of different ethnicities that have migrated to the city. His photographs on the other side of the platform depict L.A. So jump on the bandwagon - er, the Siemens P2000 light rail train car - for a recap. “The works hold up and are meant to last.”Ī week before the Regional Connector opened to the public, as train operators were conducting test runs and maintenance crews were sweeping and power-washing the subway platforms, The Times got an exclusive hard hat visit to the subway art. “They require minimal maintenance,” Yamamoto says. They’re made from durable materials, such as architectural glass or glass mosaics, meant to withstand dust from train wheels, gusts of wind and vibrations from passing trains. The works on the subway platforms, in the station concourses and by the street-level entrances are large-scale and with strong points of view, some vibrant with color and others more muted or monochromatic. Viewing these underground art museums will cost you $1.75 (a subway ticket). The Regional Connector makes it possible to ride direct from Azusa to Long Beach and East L.A. Additional funds went toward the fabrication and installation of the artworks. Artists were paid between $35,000 and $95,000, depending on the scale of their work, for projects produced over a seven-year period. arts and culture experience into the station.”Īrtists were chosen through an open competition - more than 1,200 people applied and arts professionals, both independent and from local cultural organizations such as the Broad museum and MOCA, judged the selection process. It’s a major part of the transit experience - and the Los Angeles experience. “People will stop and look at these artworks. “These are significant pieces, by established artists, that are integrated into the overall architecture of the project but also will attract people on their own,” says Metro Art program Senior Director Zipporah Yamamoto. The inaugural artists for those spaces are Ralph Gilbert and Samira Yamin. There are also two wall-mounted light box installations in the Broadway and Grand Avenue stations, part of a rotating art program. subway stations - the Grand Avenue Arts/Bunker Hill, Historic Broadway and Little Tokyo/Arts District stops - each filled with ambitious new works of art.Įight artists were commissioned by Metro Art to create permanent, site-specific installations for the stations: Andrea Bowers, Clare Rojas, Audrey Chan, Mark Steven Greenfield, Ann Hamilton, Clarence Williams, Mungo Thomson and Pearl C. ![]() The Los Angeles Metropolitan Transportation Authority debuted its Regional Connector Transit Project yesterday, a $1.8-billion undertaking that’s been more than a decade in the making. For your next art outing, head underground.
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