As devastating as the fire was, her pivot home was not a defeat.
Crossing time and geographies was a key preoccupation of her multidisciplinary practice.
(FOOD will get asecond incarnationcourtesy of the artist Lucien Smith in Chinatown later this fall.)
Installation view of “Tina Girouard: Sign-In” at the Center for Art, Research and Alliances (CARA), New York, 2024.
There are many reasons Girouard isnt better-known.
Some are obvious: she was a woman; she left the scene.
She didnt do one thing.
Installation view of “Tina Girouard: Sign-In” at the Center for Art, Research and Alliances (CARA), New York, 2024.
She experimented, explored, assembled.
Her collaborations with fellow artists of all kindspainters, beaders, dancers, filmmakers, musiciansalso suffuse the exhibition.
(The aforementionedDeath, TinaandDeath, Houseare from this series.)
Installation view of “Tina Girouard: Sign-In” at the Center for Art, Research and Alliances (CARA), New York, 2024.
This DNA-Icons series was likely never displayed publicly, Smith says.
Theres a conversation between her superimposition of her symbols and the symbols that already exist.
Back at CARA, two of Girouards works highlight how the artist played with the mutability of home.
Installation view of “Tina Girouard: Conflicting Evidence” at Magenta Plains.
She was really into the idea of labor behind making art, Moscoso says.
Nearby, bolts of floral fabric from GirouardsSolomons Lothang elegantly from the ceiling.
It had been hanging in Girouards Louisiana house for decades, and its not in the best shape.
Installation view of “Tina Girouard: Sign-In” at the Center for Art, Research and Alliances (CARA), New York, 2024.
She could use these pedestrian materials and make these subtle interventions, and then they become transformed.
Tina Girouard: Sign-In is on view at CARA through January 12.
Tina Girouard: Conflicting Evidence is on view at Magenta Plains through October 26.
