A mosaic designed by the late Willie Middlebrook for the Crenshaw stop of the Expo Line. Middlebrook’s rich mosaics depict themes of connectivity among diverse populations and between humans and the Earth. (click to enlarge) Sahra Sulaiman/Streetsblog L.A.
Crenshaw Boulevard may be chaotic to navigate due to the construction of the Crenshaw/LAX Line at the moment, but good things appear to be in the works. The Source reported Wednesday that the new stations will be graced with works from a diverse mix of 14 artists.
If you’ve ridden any of the rail lines, you’ve probably noticed that the stations are unique and play host to artwork that is intended to ground the stations in or make some connection with the surrounding community. This is because 0.5 percent of rail construction project costs are put towards the creation and installation of original artwork at each station.
The formal linking of art with transit began in the 1970s, according to a best practices report by the American Public Transportation Association (APTA). After the U.S. Department of Transportation (DOT) offered its support for high quality art and design in federally-funded transit projects and the National Endowment for the Arts published a case study of federal design projects, then-President Jimmy Carter asked the DOT to take a step further and support projects that contributed to the architectural and cultural heritage of local communities. As a result, in 1978, Boston, Atlanta, and Baltimore received official support from the Design, Art and Architecture program for permanent public art projects. Boston’s Art on the Line program, which grew out of that initiative, helped set the standard for the integration of public art in transit systems around the country.
I Dreamed I Could Fly, by Jonathan Borofsky (1993), unfortunately always conjures 9/11 for me.
The 0.5% of construction costs that Metro allocates for art projects is the minimum required by the Federal Transit Authority (the maximum is 5%), and smaller than the national average APTA cites as being between 1% and 2%. But, since 1989, that 0.5% has allowed the Metro Art program to commission over 250 artists for temporary or permanent projects at transit stations.
The projects range from the beautiful Festival of Masks Parade mural by Frank Romero at Wilshire/Normandie, to the intriguing About Place, About Face installation of 27 larger-than-life faces of area residents by Rob Nielson at the Pico-Aliso station, to the downright puzzling and possibly disturbing I Dreamed I Could Fly installation of what appears to be people falling from the sky by Jonathan Borofsky at Wilshire/Vermont (at right). See the full art guide, here.
Putting art in transit stations, says APTA, encourages ridership, improves perceptions of transit, conveys a sense of customer care, enhances community livability, improves customer experiences, improves organizational identity for transit agencies, deters vandalism, and increases safety and security. Which are all fantastic arguments for integrating art at key (and, generally, heavily neglected) bus stops, I might add, but I digress.
In selecting the finalists for the Crenshaw Line, The Source reports that the selection panel assessed how the proposed works would relate to the sites and surrounding communities, while also engaging and enhancing the transit rider’s experience along the line. The final works will take a variety of forms — the artists all work in a variety of media — and be fortified by glass, tile, stainless steel, mosaics, or porcelain enamel.
So, whose work can you look forward to seeing and what kind of work have they done in the past? Read more…