1982, Mark di Suvero Painted steel I-beams. Weighing 25 tons, this monumental work rises from 444 South Flower’s 3rd floor terrace.
1981, Michael Heizer Burnished stainless steel. “North” (two rectangles), “East” (reverse cone), “South” (upright cone), and “Wedge” (wedge) break up the
rectangular forecourt of 444 South Flower’s street-level entrance.
1982, Bruce Nauman Steel. Located on the upper plaza level, it faces the DTLA public library.
1982, Frank Stella Honeycombed aluminum and fiberglass panels. This wall painting, one in a series named after auto-race tracks, is installed at one end of the Main Lobby plaza.
1982, Robert Rauschenberg Mixed media encased in laminated, tempered glass. This work is located on the 3rd floor galleria level.
Thousands of segments of chain are precisely arranged in a single gesture that cuts through the Atrium of FourFortyFour South Flower, suggestive of a beam of brightly colored light. This art installation is the 14th piece in a series of works called “Suspensions”.
Featuring a variety of digital art compiled by several artists’ work, curated by Gensler, an integrated, architecture, design, planning and consulting firm.
2019, Acrylic polymer paint on primed ceramic tile. Taking inspiration from musical concepts of stereo, non-synchronicity, and the two-movement sonata form, this mural is made up of partial views that temporarily engulf and then release the viewer; movement through space becomes experiential transformation. The mural produces movement and transition through a composition in stereo out of sync.
Location: Exterior concourse level, FourFortyFour South Flower, Downtown Los Angeles
Photo Credit: Les Nakashima
©2017. Coretrust Capital Partners, LLC., All Rights Reserved.Website by Asenka
©2017. Coretrust Capital Partners, LLC., All Rights Reserved.