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Tricia Ward

January 01, 1970

Tricia Ward is a Los Angeles–based artist whose work has included public and environmental art, sculpture, and social practice art.[1][2][3] She emerged in the 1980s, when collaborations with underserved youth and urban groups that bridged art and social change began to gain institutional attention.[4][5] 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.[6][7][8][9]

Tricia Ward/ACLA, La Tierra de la Culebra, 1992–present, Highland Park Neighborhood, Los Angeles.

Ward has created public projects in New York, Houston, Detroit and Buenos Aires.[10][11] 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.[3][12] The organization's most well-known projects include the art parks La Tierra de la Culebra and Spiraling Orchard,[13][14] and the public, multi-mural project, "Walls of Reclamation."[15][16][17] 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.[18][10][16] In 1999, ACLA was awarded a Rudy Bruner Award for Urban Excellence Silver Medal.[3]

Background edit

Ward was born in Berkeley, California in 1951. She attended the San Francisco Art Institute, earning a BFA in 1972.[10] In the early 1970s, she moved to Galveston, Texas, where she met architect John Maroney, whom she married in 1981.[19] 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.[19][20][21][4] 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.[4][3]

In 1990, Ward, Maroney, and their daughter Leila moved to Los Angeles.[19] 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.[7][6] 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.[3][7] 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).[3][7][6]

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.[4][22]

 
Tricia Ward/ACLA, Spiraling Orchard, 1996–2014, Temple-Beaudry Neighborhood, Los Angeles.

Work edit

Ward's unique practice merges interests in the physicality of three-dimensional artworks and environments, neighborhood and community revitalization, and urban land use.[4][16][14][23] 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."[3][16] Her work generally involves collaboration among multiple constituencies with interests in community open space, arts, education, and youth development.[3] 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."[24]

Early studio art edit

Ward's early art included clay and bronze sculpture, reliquaries and mixed-media assemblage.[2][25][26][20] This work often fused figurative elements, references to ancient civilizations and ritual, and social and political concerns.[2][27][26] 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.[2] 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.[27][26]

ACLA (ARTScorpLA) edit

ACLA's activities included the development of art parks and community centers, mural painting, educational and internship programs, and cultural programming.[10][28][12][29]

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.[6][30] 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.[3][7][13][30] 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.[7][13][30] For nearly three decades, it has served as a place of recreation, education, ecological work and celebration.[31][32][33][34][13] In 2003, it was zoned as "open space" and registered as an official city park.[30]

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.[1][16][14] 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.[1][8][14][16] The park remained active for nearly two decades.[8][34][35][36]

 
Tricia Ward, A Member of the Community of Spirits Within and Among a Community of Trees, composite materials, 2019–20. Los Angeles County Arboretum.

Some of ACLA's other projects included Studio Chinatown, a community center and performance space offering classes, art studio space and cultural programming;[16][37][9] the Francis Avenue Garden Park in Koreatown, developed between 1996 and 1999;[3][38] and "Beat the Drum Fest," a multi-ethnic drumming festival organized by Ward in 2002 and presented at the Craft and Folk Art Museum and Ford Amphitheater in 2012 and 2013, respectively.[39][9][10] "Walls of Reclamation" (1995–7) was a mural and beautification project involving roughly 30 murals, which mixed traditionally schooled artists (such as Eva Cockcroft, Margaret Garcia, Man One and Frank Romero), spray-can artists, volunteers and students.[15][38] It included the 560-foot-long painting Earth Memories—then the city's largest single-concept mural—which depicts the history of the universe, from the Big Bang to modern life in Los Angeles.[15][16][17]

Other work edit

Ward's work outside of ACLA includes studio and installation art, performance, public projects, and writing on public policy.[40][11][41] Her site-responsive piece, Shared Foundations (Project Row Houses, Houston, 1999), engaged community members to create a series of linoleum painted tiles, which she assembled into a narrative floor in a row house she was given for the project.[40][42] In 2001, she and Deborah Grotfeldt initiated Riches of Detroit: Faces of Detroit as part of the Detroit Institute of Art show "Artists' Take on Detroit: Projects for the Tricentennial." They worked with diverse Detroiters and organizations to transform unused buildings and vacant lots on a city block, including two rehabilitated houses that would serve as student residences, a community center and an art park. The project was documented in a multimedia presentation and installation at the institute that included hay bales and concrete structures replicating park's conversation area.[11] In 2021, she created A Member of the Community of Spirits … for the Los Angeles County Arboretum exhibition, "The Nature of Sculpture II."[43]

Ward's essays and ideas about public art, work with youth, and urban land use have been presented in the book, Conversations at the Castle: Changing Audiences and Contemporary Art (1998), the journal, Local Environment, and in numerous lectures at graduate programs throughout the United States.[4][41]

Recognition edit

Ward's work has been recognized by awards, grants and fellowships from the California Arts Council, California Community Foundation,[10] City of Los Angeles, Getty Trust for Visual Arts, Headlands Center for the Arts,[44] and National Endowment for the Arts,[18] among others.[16] In 1999, ACLA was recognized with a Rudy Bruner Award for Urban Excellence Silver Medal for its "innovative approaches to urban revitalization" and work with youth and communities.[3] Ward's artwork belongs to the public collection of the J. Paul Getty Museum.[45]

References edit

  1. ^ a b c Perez, Mary Anne. "Artist's Hopes For A Garden Bear Fruit," Los Angeles Times, January 1, 1995. Retrieved February 2, 2022.
  2. ^ a b c d Moser, Charlotte. "Artistic cross-currents," Houston Chronicle, June 25, 1978, p. 14.
  3. ^ a b c d e f g h i j k Shibley, Robert et al. "ARTScorpsLA," Commitment to Place: Urban Excellence & Community, Cambridge, MA: Bruner Foundation, 1999. Retrieved February 2, 2022.
  4. ^ a b c d e f 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.
  5. ^ 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.
  6. ^ a b c d Goodheart, Jessica. "Serpent Getting a Garden: Art Project Giving Shape to Empty Lot," Los Angeles Times, October 15, 1992. Retrieved February 2, 2022.
  7. ^ a b c d e f Perez, Mary Anne. "Recycling Vacant Site Becomes Art Form," Los Angeles Times, December 12, 1993. Retrieved February 2, 2022.
  8. ^ a b c Tamaki, Julie. "L.A. Youths Dig Beautifying a Neighborhood," Los Angeles Times, February 1, 2004. Retrieved February 2, 2022.
  9. ^ a b c Adamek, Pauline. "Beat the Drum Fest – LA music review," LA Arts Beat, July 2012. Retrieved February 4, 2022.
  10. ^ a b c d e f California Community Foundation. Tricia Ward, Fellowship for Visual Arts. Retrieved February 2, 2022.
  11. ^ a b c Detroit Institute of Arts. Exhibitions. Retrieved February 4, 2022.
  12. ^ a b 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.
  13. ^ a b c d KCET. "Tierra De La Culebra: Park and Sculpture," November 20, 2011. Retrieved February 2, 2022.
  14. ^ a b c d Ricci, James. "All We Need Is a Little Space to Breathe," Los Angeles Times Magazine, April 1, 2001, p. 5–6.
  15. ^ a b c Blair, James. "It’s Not Just Some Cheesy Mural," Los Angeles Times, April 6, 1996. Retrieved February 2, 2022.
  16. ^ a b c d e f g h i Briggs, Jack. "The Power of Involvement," Downtown Los Angeles News, August 27, 2001. Retrieved February 4, 2022.
  17. ^ a b 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.
  18. ^ a b National Endowment for the Arts. 1994 Annual Report, Washington DC: National Endowment for the Arts, 1994, p. 110.
  19. ^ a b c Los Angeles Times. "John Francis Maroney," December 18, 2010.
  20. ^ a b Hoberman, J. "New Spirituality Is It Rising?," Village Voice, May 28, 1988.
  21. ^ The New York Times. "Chinatown Art Studios To Be Opened to Public," April 29, 1988. Retrieved February 4, 2022.
  22. ^ 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.
  23. ^ Rappleye, Charles. "Parks and Wreck," Los Angeles CityBeat, January 2004.
  24. ^ 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.
  25. ^ Johnson, Patricia. "What Culture? Views!," Houston Post, January 16, 1983.
  26. ^ a b c Walker, Marsha. "Street Harvester, Tricia Ward," ArtScene Houston, 1986.
  27. ^ a b Crook, Teri. "Artists offer 'reflective' pieces in isle guild exhibit," Galveston Daily News, 1986.
  28. ^ Lin, Jan. Taking Back the Boulevard: Art, Activism, and Gentrification in Los Angeles, New York: New York University Press, 2019, p. 37–8.
  29. ^ 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.
  30. ^ a b c d Garza, Joe. "This Art Park is LA’s Outdoor Gem: La Tierra de la Culebra," LA Trend, July 10, 2020. Retrieved February 4, 2022.
  31. ^ Prittle, Clarice. "Winter solstice celebration comes to 'Land of Serpent,'" Star-Review, September 16, 1992.
  32. ^ Goodheart, Jessica. "Drumbeats & Culture Clash,” Los Angeles Times, February 11, 1993. Retrieved February 2, 2022.
  33. ^ Perez, Mary Anne. "Sun Takes Spotlight at Park Celebration," Los Angeles Times, June 19, 1994. Retrieved February 2, 2022.
  34. ^ a b Enoch, Joe. "Youth development grows outdoors, at low cost," Youth Today, September 1, 2005. Retrieved February 2, 2022.
  35. ^ Bermudez, Esmeralda. "Grief propels an Echo Park community," Los Angeles Times, February 14, 2010. Retrieved February 2, 2022.
  36. ^ Bermudez, Esmeralda. "L.A.'s shrines to the Virgen de Guadalupe," Los Angeles Times, July 5, 2011. Retrieved February 2, 2022.
  37. ^ Looseleaf, Victoria. "Four Art Upstarts Arrive," Los Angeles Downtown News, July 19, 1999, p. 12–3.
  38. ^ a b ACLA/ARTScorpsLA. Retrieved February 8, 2022.
  39. ^ World Music Central. "Beat the Drum … a Global Fusion Celebration in Los Angeles," June 29, 2011. Retrieved February 4, 2022.
  40. ^ a b Project Row Houses. Round 9. Past Projects. Retrieved February 2, 2022.
  41. ^ a b Ward, Tricia. "Detroit and Los Angeles: A Study in Similarities," Local Environment, April 2007, p. 183–92. Retrieved February 2, 2022.
  42. ^ Ward, Tricia. Shared Foundation, Projects. Retrieved February 9, 2022.
  43. ^ Los Angeles County Arboretum and Botanic Garden. "The Nature of Sculpture II," Events. Retrieved February 2, 2022.
  44. ^ Headlands Center for the Arts. Tricia Ward, Alumni. Retrieved February 2, 2022.
  45. ^ The J. Paul Getty Museum. Window with First Communion Images, Tricia Ward Swann. Collection. Retrieved February 8, 2022.

External links edit

  • Tricia Ward website
  • Tierra De La Culebra: Park and Sculpture, KCET-NPR interviews with Tricia Ward, 2011
  • Come In, We're Open–Tricia Ward, 2013 social practice video

January 01, 1970
tricia, ward, angeles, based, artist, whose, work, included, public, environmental, sculpture, social, practice, emerged, 1980s, when, collaborations, with, underserved, youth, urban, groups, that, bridged, social, change, began, gain, institutional, attention. Tricia Ward is a Los Angeles based artist whose work has included public and environmental art sculpture and social practice art 1 2 3 She emerged in the 1980s when collaborations with underserved youth and urban groups that bridged art and social change began to gain institutional attention 4 5 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 6 7 8 9 Tricia WardBorn1951Berkeley California United StatesNationalityAmericanEducationSan Francisco Art InstituteKnown forSocial practice art environmental art Installation art sculptureAwardsRudy Bruner Award for Urban Excellence National Endowment for the Arts California Arts Council California Community FoundationWebsiteTricia Ward Tricia Ward ACLA La Tierra de la Culebra 1992 present Highland Park Neighborhood Los Angeles Ward has created public projects in New York Houston Detroit and Buenos Aires 10 11 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 3 12 The organization s most well known projects include the art parks La Tierra de la Culebra and Spiraling Orchard 13 14 and the public multi mural project Walls of Reclamation 15 16 17 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 18 10 16 In 1999 ACLA was awarded a Rudy Bruner Award for Urban Excellence Silver Medal 3 Contents 1 Background 2 Work 2 1 Early studio art 2 2 ACLA ARTScorpLA 2 3 Other work 3 Recognition 4 References 5 External linksBackground editWard was born in Berkeley California in 1951 She attended the San Francisco Art Institute earning a BFA in 1972 10 In the early 1970s she moved to Galveston Texas where she met architect John Maroney whom she married in 1981 19 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 19 20 21 4 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 4 3 In 1990 Ward Maroney and their daughter Leila moved to Los Angeles 19 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 7 6 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 3 7 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 3 7 6 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 4 22 nbsp Tricia Ward ACLA Spiraling Orchard 1996 2014 Temple Beaudry Neighborhood Los Angeles Work editWard s unique practice merges interests in the physicality of three dimensional artworks and environments neighborhood and community revitalization and urban land use 4 16 14 23 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 3 16 Her work generally involves collaboration among multiple constituencies with interests in community open space arts education and youth development 3 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 24 Early studio art edit Ward s early art included clay and bronze sculpture reliquaries and mixed media assemblage 2 25 26 20 This work often fused figurative elements references to ancient civilizations and ritual and social and political concerns 2 27 26 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 2 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 27 26 ACLA ARTScorpLA edit ACLA s activities included the development of art parks and community centers mural painting educational and internship programs and cultural programming 10 28 12 29 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 6 30 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 3 7 13 30 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 7 13 30 For nearly three decades it has served as a place of recreation education ecological work and celebration 31 32 33 34 13 In 2003 it was zoned as open space and registered as an official city park 30 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 1 16 14 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 1 8 14 16 The park remained active for nearly two decades 8 34 35 36 nbsp Tricia Ward A Member of the Community of Spirits Within and Among a Community of Trees composite materials 2019 20 Los Angeles County Arboretum Some of ACLA s other projects included Studio Chinatown a community center and performance space offering classes art studio space and cultural programming 16 37 9 the Francis Avenue Garden Park in Koreatown developed between 1996 and 1999 3 38 and Beat the Drum Fest a multi ethnic drumming festival organized by Ward in 2002 and presented at the Craft and Folk Art Museum and Ford Amphitheater in 2012 and 2013 respectively 39 9 10 Walls of Reclamation 1995 7 was a mural and beautification project involving roughly 30 murals which mixed traditionally schooled artists such as Eva Cockcroft Margaret Garcia Man One and Frank Romero spray can artists volunteers and students 15 38 It included the 560 foot long painting Earth Memories then the city s largest single concept mural which depicts the history of the universe from the Big Bang to modern life in Los Angeles 15 16 17 Other work edit Ward s work outside of ACLA includes studio and installation art performance public projects and writing on public policy 40 11 41 Her site responsive piece Shared Foundations Project Row Houses Houston 1999 engaged community members to create a series of linoleum painted tiles which she assembled into a narrative floor in a row house she was given for the project 40 42 In 2001 she and Deborah Grotfeldt initiated Riches of Detroit Faces of Detroit as part of the Detroit Institute of Art show Artists Take on Detroit Projects for the Tricentennial They worked with diverse Detroiters and organizations to transform unused buildings and vacant lots on a city block including two rehabilitated houses that would serve as student residences a community center and an art park The project was documented in a multimedia presentation and installation at the institute that included hay bales and concrete structures replicating park s conversation area 11 In 2021 she created A Member of the Community of Spirits for the Los Angeles County Arboretum exhibition The Nature of Sculpture II 43 Ward s essays and ideas about public art work with youth and urban land use have been presented in the book Conversations at the Castle Changing Audiences and Contemporary Art 1998 the journal Local Environment and in numerous lectures at graduate programs throughout the United States 4 41 Recognition editWard s work has been recognized by awards grants and fellowships from the California Arts Council California Community Foundation 10 City of Los Angeles Getty Trust for Visual Arts Headlands Center for the Arts 44 and National Endowment for the Arts 18 among others 16 In 1999 ACLA was recognized with a Rudy Bruner Award for Urban Excellence Silver Medal for its innovative approaches to urban revitalization and work with youth and communities 3 Ward s artwork belongs to the public collection of the J Paul Getty Museum 45 References edit a b c Perez Mary Anne Artist s Hopes For A Garden Bear Fruit Los Angeles Times January 1 1995 Retrieved February 2 2022 a b c d Moser Charlotte Artistic cross currents Houston Chronicle June 25 1978 p 14 a b c d e f g h i j k Shibley Robert et al ARTScorpsLA Commitment to Place Urban Excellence amp Community Cambridge MA Bruner Foundation 1999 Retrieved February 2 2022 a b c d e f 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 a b c d Goodheart Jessica Serpent Getting a Garden Art Project Giving Shape to Empty Lot Los Angeles Times October 15 1992 Retrieved February 2 2022 a b c d e f Perez Mary Anne Recycling Vacant Site Becomes Art Form Los Angeles Times December 12 1993 Retrieved February 2 2022 a b c Tamaki Julie L A Youths Dig Beautifying a Neighborhood Los Angeles Times February 1 2004 Retrieved February 2 2022 a b c Adamek Pauline Beat the Drum Fest LA music review LA Arts Beat July 2012 Retrieved February 4 2022 a b c d e f California Community Foundation Tricia Ward Fellowship for Visual Arts Retrieved February 2 2022 a b c Detroit Institute of Arts Deborah Grotfeldt Tricia Ward Exhibitions Retrieved February 4 2022 a b 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 a b c d KCET Tierra De La Culebra Park and Sculpture November 20 2011 Retrieved February 2 2022 a b c d Ricci James All We Need Is a Little Space to Breathe Los Angeles Times Magazine April 1 2001 p 5 6 a b c Blair James It s Not Just Some Cheesy Mural Los Angeles Times April 6 1996 Retrieved February 2 2022 a b c d e f g h i Briggs Jack The Power of Involvement Downtown Los Angeles News August 27 2001 Retrieved February 4 2022 a b 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 a b National Endowment for the Arts 1994 Annual Report Washington DC National Endowment for the Arts 1994 p 110 a b c Los Angeles Times John Francis Maroney December 18 2010 a b 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 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 Rappleye Charles Parks and Wreck Los Angeles CityBeat January 2004 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 Johnson Patricia What Culture Views Houston Post January 16 1983 a b c Walker Marsha Street Harvester Tricia Ward ArtScene Houston 1986 a b Crook Teri Artists offer reflective pieces in isle guild exhibit Galveston Daily News 1986 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 a b c d Garza Joe This Art Park is LA s Outdoor Gem La Tierra de la Culebra LA Trend July 10 2020 Retrieved February 4 2022 Prittle Clarice Winter solstice celebration comes to Land of Serpent Star Review September 16 1992 Goodheart Jessica Drumbeats amp 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 a b Enoch Joe Youth development grows outdoors at low cost Youth Today September 1 2005 Retrieved February 2 2022 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 Looseleaf Victoria Four Art Upstarts Arrive Los Angeles Downtown News July 19 1999 p 12 3 a b ACLA ARTScorpsLA Retrieved February 8 2022 World Music Central Beat the Drum a Global Fusion Celebration in Los Angeles June 29 2011 Retrieved February 4 2022 a b Project Row Houses Round 9 Past Projects Retrieved February 2 2022 a b Ward Tricia Detroit and Los Angeles A Study in Similarities Local Environment April 2007 p 183 92 Retrieved February 2 2022 Ward Tricia Shared Foundation Projects Retrieved February 9 2022 Los Angeles County Arboretum and Botanic Garden The Nature of Sculpture II Events Retrieved February 2 2022 Headlands Center for the Arts Tricia Ward Alumni Retrieved February 2 2022 The J Paul Getty Museum Window with First Communion Images Tricia Ward Swann Collection Retrieved February 8 2022 External links editTricia Ward website Tierra De La Culebra Park and Sculpture KCET NPR interviews with Tricia Ward 2011 Come In We re Open Tricia Ward 2013 social practice video Retrieved from https en wikipedia org w index php title Tricia Ward amp oldid 1191435782, wikipedia, wiki, book, books, library,

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