Tricia Ward is a Los Angeles–based artist whose work has included public and environmental art, sculpture, and social practice art.Perez, Mary Anne. "Artist's Hopes For A Garden Bear Fruit," Los Angeles Times, January 1, 1995. Retrieved February 2, 2022.Moser, Charlotte. "Artistic cross-currents," Houston Chronicle, June 25, 1978, p. 14.Shibley, Robert et al. "ARTScorpsLA," Commitment to Place: Urban Excellence & Community, Cambridge, MA: Bruner Foundation, 1999. Retrieved February 2, 2022. She emerged in the 1980s, when collaborations with underserved youth and urban groups that bridged art and social change began to gain institutional attention.Dickerson, Amina and Tricia Ward. "A Co-Meditation on Youth, Art, and Society," Conversations at the Castle: Changing Audiences and Contemporary Art, Cambridge, MA: MIT Press, 1998. Retrieved February 2, 2022.Jacob, Mary Jane and Michael Brenson (eds). Conversations at the Castle: Changing Audiences and Contemporary Art, Cambridge, MA: MIT Press, 1998. Retrieved February 2, 2022. Her work combines collaborative, interdisciplinary approaches that include physical transformations of derelict urban environments into "pocket parks," environmental remediation, cultural and educational programming, public policy and civic engagement.Goodheart, Jessica. "Serpent Getting a Garden: Art Project Giving Shape to Empty Lot," Los Angeles Times, October 15, 1992. Retrieved February 2, 2022.Perez, Mary Anne. "Recycling Vacant Site Becomes Art Form," Los Angeles Times, December 12, 1993. Retrieved February 2, 2022.Tamaki, Julie. "L.A. Youths Dig Beautifying a Neighborhood," Los Angeles Times, February 1, 2004. Retrieved February 2, 2022.Adamek, Pauline. "Beat the Drum Fest – LA music review," LA Arts Beat, July 2012. Retrieved February 4, 2022.
Ward has created public projects in New York, Houston, Detroit and Buenos Aires.California Community Foundation. Tricia Ward, Fellowship for Visual Arts. Retrieved February 2, 2022.Detroit Institute of Arts. "Deborah Grotfeldt, Tricia Ward," Exhibitions. Retrieved February 4, 2022. However, the majority of her work has been undertaken in Los Angeles, through the nonprofit organization that she founded and led, ACLA (Art Community Land Activism), originally known as ARTScorpsLA.Ward, Tricia and John Maroney, Cindy Diama, Sal Oseguero and Claudia McDonnell. ARTScorpsLA. Buffalo, NY: University Libraries, State University of New York at Buffalo, 1999. Retrieved February 4, 2022. The organization's most well-known projects include the art parks La Tierra de la Culebra and Spiraling Orchard,KCET. "Tierra De La Culebra: Park and Sculpture," November 20, 2011. Retrieved February 2, 2022.Ricci, James. "All We Need Is a Little Space to Breathe," Los Angeles Times Magazine, April 1, 2001, p. 5–6. and the public, multi-mural project, "Walls of Reclamation."Blair, James. "It’s Not Just Some Cheesy Mural," Los Angeles Times, April 6, 1996. Retrieved February 2, 2022.Briggs, Jack. "The Power of Involvement," Downtown Los Angeles News, August 27, 2001. Retrieved February 4, 2022.Dunitz, Robin J. and James Prigoff. Painting the Town: Murals of California, Los Angeles: R.J.D. Enterprises, 1997, p. 200. Retrieved February 8, 2022. Ward's work has been recognized by institutions including the National Endowment for the Arts, California Arts Council, California Community Foundation, and Getty Trust, among others.National Endowment for the Arts. 1994 Annual Report, Washington DC: National Endowment for the Arts, 1994, p. 110. In 1999, ACLA was awarded a Rudy Bruner Award for Urban Excellence Silver Medal.
Background Ward was born in Berkeley, California in 1951. She attended the San Francisco Art Institute, earning a BFA in 1972. In the early 1970s, she moved to Galveston, Texas, where she met architect John Maroney, whom she married in 1981.Los Angeles Times. "John Francis Maroney," December 18, 2010. She and Maroney split time between Galveston and New York City in the 1980s. During that time, Ward produced mixed-media sculpture and assemblage, while also developing a hybrid concept blending art and parks, an offshoot of her work then with New York's Green Guerillas.Hoberman, J. "New Spirituality Is It Rising?," Village Voice, May 28, 1988.The New York Times. "Chinatown Art Studios To Be Opened to Public," April 29, 1988. Retrieved February 4, 2022. Between 1986 and 1989, she organized a community transformation of part of the turn-of-the-century Sara D. Roosevelt Park in New York's Lower East Side, which included an earthwork and community garden.
In 1990, Ward, Maroney, and their daughter Leila moved to Los Angeles. Shortly after the 1992 Los Angeles riots, Ward became involved in a youth art-workshop project called "Re-Wing LA," intended to respond to the unrest. Finding that project short-lived and unresponsive to constituents, however, she initiated her own community project: reclaiming an abandoned, neglected parcel of land in her multi-ethnic Highland Park neighborhood. Beginning without permission, she eventually obtained a use agreement from the owner and grants from the Los Angeles Cultural Affairs Department and (later) Los Angeles Conservation Corps; out of this work, she formed a nonprofit arts and education organization: ARTScorpLA, that was active for more than three decades; it was later renamed ACLA (Art Community Land Activism).
In addition to her art practice and work leading ACLA, Ward served as arts commissioner to the City of Los Angeles Commission on Children, Youth and Their Families from 1995 to 2003, and taught for many years in the Department of Public Art Studies and Urban Cultural Planning at the University of Southern California Roski School of Art and Design.Pincetl, Stephanie. "Nonprofits and Park Provision in Los Angeles: An Exploration of the Rise of Governance Approaches to the Provision of Local Services," Social Science Quarterly, December 2003. Retrieved February 10, 2022.
Work Ward's unique practice merges interests in the physicality of three-dimensional artworks and environments, neighborhood and community revitalization, and urban land use.Rappleye, Charles. "Parks and Wreck," Los Angeles CityBeat, January 2004. Writers have noted her methodology's focus on gaining community acceptance—often taking up residency among them—its flexible mode of light, nonprofit management (as opposed to the rigidity of city agencies), and fairly "radical notion of public space as continually contested territory belonging to no single owner permanently." Her work generally involves collaboration among multiple constituencies with interests in community open space, arts, education, and youth development. Art writer Michael Brenson described Ward's approach as premised on equity, inclusiveness, conversation, non-judgment and a commitment that includes "her willingness to make this involvement part of everyday life for an indefinite period."Brenson, Michael. "Introduction to Conversations on Culture," Conversations at the Castle: Changing Audiences and Contemporary Art, Cambridge, MA: MIT Press, 1998. Retrieved February 2, 2022.
Early studio art Ward's early art included clay and bronze sculpture, reliquaries and mixed-media assemblage.Johnson, Patricia. "What Culture? Views!," Houston Post, January 16, 1983.Walker, Marsha. "Street Harvester, Tricia Ward," ArtScene Houston, 1986. This work often fused figurative elements, references to ancient civilizations and ritual, and social and political concerns.Crook, Teri. "Artists offer 'reflective' pieces in isle guild exhibit," Galveston Daily News, 1986. Her show "Body Works" (Houston, 1978) featured pink-hued figurative sculpture created from molds and embedded in mounds of white sand. Houston Chronicle critic Charlotte Moser wrote that this work "translated the subtleties of the human body into delicate ceramics," notable for their organic fluidity (without reference to body parts) and an eroticism recalling Edward Weston's photographs. In the later show, "Reflections of Kingship" (Galveston, 1986, with Marianne van Lent), Ward exhibited an altar-like work (Tableau of Incantations), masks, and textured sculpture using found objects that a review described as "three-dimensional cave paintings" offering modern interpretations of ancient themes and animal motifs.
ACLA (ARTScorpLA) ACLA's activities included the development of art parks and community centers, mural painting, educational and internship programs, and cultural programming.Lin, Jan. Taking Back the Boulevard: Art, Activism, and Gentrification in Los Angeles, New York: New York University Press, 2019, p. 37–8.Miranda, Carolina A. "In its 25th year, the Getty’s Multicultural Internship Program is changing the face of arts leadership in L.A.," Los Angeles Times, August 1, 2017. Retrieved February 2, 2022.
The organization emerged from Ward's efforts to clear a derelict parcel of land in her Highland Park neighborhood. She mobilized a group of youth volunteers and with them dug up the site, unearthing stone foundation remnants from several houses that they reused to, among other things, build an amphitheater.Garza, Joe. "This Art Park is LA’s Outdoor Gem: La Tierra de la Culebra," LA Trend, July 10, 2020. Retrieved February 4, 2022. Through a series of discussions, the group also developed a motif for the site—the serpent (la Culebra), a Mayan and Asian symbol of wisdom and renewal—which would serve as the site's name, La Tierra de la Culebra, and inspire its most striking feature, a 450-foot, winding sculpture made of brick and stone. Over time the site was developed into a multi-level community park, with olive trees, herb, vegetable and flower gardens, quirky statues, furniture, and a pond. For nearly three decades, it has served as a place of recreation, education, ecological work and celebration.Prittle, Clarice. "Winter solstice celebration comes to 'Land of Serpent,'" Star-Review, September 16, 1992.Goodheart, Jessica. "Drumbeats & Culture Clash,” Los Angeles Times, February 11, 1993. Retrieved February 2, 2022.Perez, Mary Anne. "Sun Takes Spotlight at Park Celebration," Los Angeles Times, June 19, 1994. Retrieved February 2, 2022.Enoch, Joe. "Youth development grows outdoors, at low cost," Youth Today, September 1, 2005. Retrieved February 2, 2022. In 2003, it was zoned as "open space" and registered as an official city park.
ACLA's next large project, undertaken in 1995, was Spiraling Orchard, which involved the reclamation of a half-acre, toxic and non-arable, former oil field in the transitional Temple-Beaudry neighborhood. For this project, ACLA and local volunteers eventually collaborated with USC's Sustainable Cities program on a process known as phytoremediation, planting a garden of fruit trees in addition to creating a pavilion, symbolic sculptural pieces (spiral, sundial and ziggurat structures), and community and educational programs. The park remained active for nearly two decades.Bermudez, Esmeralda. "Grief propels an Echo Park community," Los Angeles Times, February 14, 2010. Retrieved February 2, 2022.Bermudez, Esmeralda. "L.A.'s shrines to the Virgen de Guadalupe," Los Angeles Times, July 5, 2011. Retrieved February 2, 2022.