Tina Girouard (1946 – 2020) has an exhibition history that includes a 1983 mid-career retrospective mounted at the Rufino Tamayo Museum in Mexico City, and international events such as the 1980 Venice Biennale, the 1977 Paris Biennale, 1977 Documenta VI and 1972 Documenta V, Kassel. Girouard’s work has been exhibited widely at galleries and museums including: Leo Castelli Gallery, The Kitchen, Walker Art Center, New Orleans Museum of Art, Museum of Contemporary Art Chicago, Palais des Beaux-Arts Brussels, Holly Solomon Gallery, David Zwirner, the Museum of Contemporary Art Los Angeles, and the New Museum. Her work was recently on view in the exhibition With Pleasure: Pattern and Decoration in American Art 1972 – 1985 curated by Anna Katz, originating at MOCA Los Angeles, which travelled to the Hessel Museum of Art, Bard College, NY. Girouard’s work is in the permanent collections of the Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY; Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA; Ludwig Forum fur International Kunst Aachen, DE; Rufino Tamayo Museum, Mexico City, Mexico; and Stedelijk Museum Actuele Kunst, Gent, Belgium.

Tina Girouard A Few, 1981, Dilworth Plaza City Hall, Philadelphia, PA
About
Images


Veritable, 1991
Sequins and beads on fabric
36 x 36 inches / 91.4 x 91.4 cm



Toussaint, 1991
Hand sewn glass beads, sequins, acrylic and other media on canvas
72 x 43 inches / 182.9 x 109.2 cm

Legba, 1991
Hand sewn glass beads, sequins, acrylic and other media on canvas
72 x 43 inches / 182.9 x 109.2 cm

Demande Permission Erzulie, 1991
Hand sewn glass beads, sequins, acrylic and other media on canvas
72 x 43 inches / 182.9 x 109.2 cm

Performed at 112 Greene Street, for Group Exhibition: September 1 - October 18, 1973
Photographer is unknown.
Image courtesy the artist and Anat Ebgi. © Tina Girouard / Artists Rights Society (ARS), New York.

Installation view, Pattern and Decoration: Ornament as Promise, 2019, Mumok, Vienna, Austria

Installation at MoMA Clocktower.

The Kitchen, NYC

Mixed media, framed
36 x 29 inches / 91.4 x 73.7 cm

Veranda, 1979
Brooms, curtains, fire ladder, bug lights

Documentation of original performance at New Orleans Museum of Art for the exhibition Five From Louisiana

Documentation from the Brooklyn Bridge Event

Photo credit: Richard Landry, alteration by Gordon Matta-Clark, via David Zwirner, New York

Art stick on velum
8 x 8 inches / 20.3 x 20.3 cm


Sequins and beads on fabric
44 x 25 inches / 111.8 x 63.5 cm

Documentation of original performance at New Orleans Museum of Art for the exhibition Five From Louisiana

Documentation of original performance at New Orleans Museum of Art for the exhibition Five From Louisiana

Documentation of original performance at New Orleans Museum of Art for the exhibition Five From Louisiana

Voyeur, 1992
Detail

Voyeur, 1992
Hand sewn glass beads, sequins, acrylic and other media on canvas
24.5 x 32 inches / 62.2 x 81.3 cm

Pink Floral (Lillypad), Undated (1990s)
Sequins and beads on fabric
33.5 x 35 inches / 85.1 x 88.9 cm

Lizagator, c. 1990-95
Detail

Lizagator, c. 1990-95
Sequins and beads on fabric
33 ¹⁄₂ x 34 inches / 85.1 x 86.4 cm

Hibiscus, 1995
Sequins and beads on fabric
35 x 36 inches / 88.9 x 91.4 cm

Granbois, 1991
Hand sewn glass beads, sequins, acrylic and other media on canvas
72 x 43 inches / 182.9 x 109.2 cm

© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

Goat for Gede, 1992
Hand sewn glass beads, sequins, acrylic and other media on canvas
23 x 35 inches / 58.4 x 88.9 cm
© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

Ogou, 1991
Hand sewn glass beads, sequins, acrylic and other media on canvas
72 x 43 inches / 182.9 x 109.2 cm
© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

Screen 4, c.1974-75
Mixed Media on fabric
72 x 72 inches / 182.9 x 182.9 cm
© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

Pinwheel, 1977
Performance, Duration 60 minutes
© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

Walls Wallpaper, 1971
Wallpaper and fabric, framed
38.5 x 36.5 inches / 97.8 x 92.7 cm
© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

Air Space Stage, 1972
Solomon's Lot fabrics
144 x 144 inches / 365.8 x 365.8 cm
© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

13 Test Pattern Sequence, 1974
Art stick on velum, framed
14.25 x 14.25 inches / 36.2 x 36.2 cm
© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

Untitled (Spotted Blue Frog), 1973
Fabric collage mounted on paper, framed
20 x 22.5 inches / 50.8 x 57.2 cm
© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

13 Test Pattern Sequence, 1974
Artstick on vellum, framed
Sheet: 8 x 8 inches / 20.3 x 20.3 cm
© Estate of Tina Girouard, Artists Rights Society (ARS), New York.

Orion and Koko, Undated (1990s)
Sequins and beads on fabric
20.5 x 20.5 inches / 52.1 x 52.1 cm
© Estate of Tina Girouard, Artists Rights Society (ARS), New York.
Exhibitions

Good Company: The Remix

Good Company: Pt. 1

Staycation

Tina Girouard: A Place That Has No Name
News

Pattern Recognition
P&D’s long eclipse in mainstream art-historical narratives may explain not only the tenacious grip of formative interpretations but also the lack of in-depth, fine-grained studies of principals such as Girouard, who died last year and whose work commands increasing attention. Her distinctive mode of legitimating decorative practices involved the use of found lengths of vintage fabric, which she manipulated into provisional architectural structures for the performance of dance and ritual ceremonies. —Lynne Cooke
Artforum, October 2021
Highlights from ‘With Pleasure: Pattern and Decoration in American Art 1972-1985’
This 27-minute projection zooms onto Girouard’s lap while she tends a group of floral fabrics which she inherited from her uncle, Sullivan. Throughout the video, she rinses, sews, and folds the materials while the radio in the background plays content that ranges from the time’s popular tunes, advertisement, and political updates. A song from Pink Floyd’s The Dark Side of The Moon album is followed by a car dealership advertisement, and we eventually hear the most recent development in the Watergate hearings. “That big ‘a-ha’ moment is critical about the movement’s queering of not only contemporary art but the broader authority,” says curator Anna Katz. —Osman Can Yerebakan
Interior Design Magazine, August 2021
Tina Girouard’s Elevated Patterns
From playing a central part in New York's art scene, to wandering the 'Louisiana swamps and Voodoo societies in Haiti', Girouard was an artist who evolved wherever she went. —Tessa Moldan
Ocula, July 2020
Tina Girouard
What distinguished “A Place That Has No Name” was its subtle demonstration of how Girouard synthesized her conceptual and material interests through iteration and collaboration. —Tausif Noor
Artforum, July 2020
We Called Her General Girouard
For Girouard, whose work at this time moved fluidly between installation and performance, to provide food and facilitate community was entirely consonant with her art and her cultural identity. —Jonathan Griffin
Active Cultures, July 2020
With Pleasure: Pattern and Decoration in American Art, 1972–1985
Made in the year between Nixon’s impeachment, reelection, and eventual resignation, and approaching the end of the Vietnam war, Girouard’s video is a subtle rumination on the cultivation of taste in culture (music) and a deep questioning of authority at the intersection of American culture and politics. Maintenance III meditates on a seemingly neutral act: as the artist listens to upbeat tunes on the radio, there is a subtle critical undertone pointing out that the radio, a symbol of mass media, is itself not neutral. —Olivia Gauthier
Brooklyn Rail, June 2020
Tina Girouard (1946-2020)
Tina inspires because she calls one to the challenge of living fully. With Tina, creative energy poured into every act of being human, of being alive, of being—cooking, eating, dancing, talking, making, laughing, crying, loving. —Jessamyn Fiore
Artforum, June 2020
A curator’s tribute to Louisiana-born artist Tina Girouard
Perhaps Tina, along with Antoine, Georges, and Edgar, and all others involved in the production of the Vodou flags within the Bondye: Between and Beyond exhibition, were not only collaboratively creating work that honored spirits within the Vodou religion but also using the works and their production as a figurative mirror to explore the essence of each other’s humanity. —Nic Aziz
NOMA, May 2020
Tina Girouard, Experimental Artist in 1970s SoHo, Dies at 73
Tina Girouard, a risk-taking artist from rural Louisiana who played a catalytic role in the 1970s SoHo art scene in New York, helping to found the experimental gallery 112 Greene Street and the artist-run restaurant Food, died on April 21 at her home in Cecilia, La. She was 73. —Randy Kennedy
The New York Times, April 2020
TINA GIROUARD (1946–2020)
A pivotal figure in the 1970s SoHo art scene and its alternative spaces—such as 112 Greene Street and the restaurant FOOD—Girouard’s work included performances such as Pinwheel, 1977, in which the artist acted as both director and performer.
Artforum, April 2020
Tina Girouard, 1946 – 2020
Tina Girouard was born in DeQuincy, Louisiana, in 1946. In the 1960s and 70s, she maintained a studio in New York’s Chinatown and actively participated in some of the earliest shows of video and performance art at now iconic independent spaces still operating today: 112 Greene St. (now White Columns), the Clocktower, PS1, Creative Time, Performance Art, and the Fabric Workshop in Philadelphia. —Daniel Fuller
Burnaway, April 2020
Tina Girouard, Freewheeling Artist of 1970s New York Scene, Is Dead at 73
Alongside her art stretching across multiple mediums and movements, she helped nurture the New York art community by supporting various significant alternative art spaces. —Alex Greenberger
Artnews, April 2020
Whitewall, Anat Ebgi, and The Kitchen Celebrate Tina Girouard at The Miami Beach Edition
This week during Art Basel in Miami Beach, The Miami Beach Edition hosted cocktails and dinner to honor Tina Girouard‘s seminal performance piece Pinwheel at Art Basel’s brand new sector. Girouard is an American performance and video artist best known as part of the post-minimalist movement in downtown New York in the 60’s and 70’s. —Whitewall
Whitewall, December 2019
Review: More is more. Why the ‘Pattern and Decoration’ show at MOCA is pure pleasure
Lurking within Girouard’s example is a salient feature of P&D and its awkward history. Domestic materials evoke a traditionally female purview. —Christopher Knight
LA Times, November 2019
Bondye: Between and Beyond by Tina Girouard
Tina Girouard doesn’t disappoint. Inspired by the blend of Caribbean, African, and European culture in her own Louisiana hometown, these flags reference a range of international traditions expressed in Vodou, from All Saints Day in France to New Orleans Mardi Gras, and Haitian Kanaval. —Elizabeth Kozlowski
Surface Design Journal, June 2019
Tina Girouard – Haitian Hand-Stitched Vodou Flags
When Tina Girouard first arrived in Haiti, she began commissioning artists to create beadworks based on her own paintings and designs. As she learned more about the island nation’s art and religion—and developed close, collaborative relationships with Haitian artists. She began introducing more and more Haitian imagery into her work. —Arts & Food
Arts & Food, May 2019
Is Pattern Back in Fashion?
To Judd’s industrially fabricated units, artists such as Tina Girouard offer equally rectilinear strips of commercially available wallpaper, floral-printed and pastel-hued, mounted on muslin as a kind of incidental painting. —Amy Sherlock
Frieze, April 2019
Sequined flags depict Haitian Vodou spirits
The exhibit of flags designed and created by Louisiana artist Tina Girouard and sequin artists in Haiti runs through June 16.
Texarkana Gazette, February 7, 2019
Art review: ‘Bondye: Beyond and Between’
During extended visits to her studio in Haiti, where she worked with legendary Voodoo flag makers such as Edgar Jean-Louis and Georges Valris, Girouard fashioned the large beaded and sequined "Vodou drapos" in this expo at the New Orleans Museum of Art. While mostly remaining true to traditional Haitian symbolism, they reveal Louisiana influences as well. —D. Eric Bookhardt
Gambit, February 2019
Close Look: Tina Girouard at the New Orleans Museum of Art
During the 1990s, Girouard maintained a studio in Port-au-Prince where she helped create these collective artworks. She has favored exhibiting outside of the gallery system, championing non profits and more community centric spaces. She is also unique in that her work — video, sound, textile, painting, installations — are well represented in private collections of artists, as well as major museums. —Burnaway
Burnaway, February 2019
Back Home: Tina Girouard at the Acadiana Center for the Arts
"I wandered away from the art world over the past twenty years to the Louisiana swamps and Vodoo societies in Haiti." —Tina Girouard
Art E-Walk, June 2018
Tina Girouard | Haitian Sequin Art
The sequin works made by Tina Girouard are the fruit of several years of collaboration with the Bel Air artists in Haiti. But the works created during her stay there undeniably carry the mark of the artist. In return, her influence on the artists of Bel Air had the effect of promoting their personal style, as well as encouraging them to sign their work and to deploy the use of sequin art beyond its original function, which was to create sacred ceremonial flags... —LeGrace Benson
Gradhiva, 2015
Gordon Matta-Clark, Suzanne Harris, and Tina Girouard: The 112 Greene Street Years
Tina Girouard’s colorful installations, constructed from panels of wallpaper, linoleum, and fabric, are scattered throughout the gallery’s exhibition areas. Designed to demarcate smaller spaces inside the vast industrial expanse of 112 Greene Street, these works were also intended to evolve as performance artists interacted with them. —Chase Martin
AEQAI, August 2013
“Gordon Matta-Clark, Suzanne Harris, Tina Girouard: 112 Greene Street Years”
Tina Girouard’s linoleum floor piece and fabric screens combine ornamental floral patterns with a Minimalist compositional logic that feels almost more than contemporary, despite the fact that their motifs have an air of the anachronistic about them, evocative of early-twentieth-century wallpaper and the Victorian-era art of pressed flowers. —Zachary Cahill
Artforum, June 2013
When Eating and Art Became One
In 1971, you didn’t have to be Keith McNally to open a restaurant downtown. "We were all doing it," recalled Girouard, then well known in downtown circles for her Chatham Square loft parties, because we wanted to FOOD was fueled by artists’ desires. —Howie Kahn
The New York Times, May 2013
112 Greene Street: The Soho that Used to Be
Vito Acconci locked himself in a tiny room with a fighting cock (“Combination,” 1971), which escaped, and had to be trapped by Girouard — whose own piece “Four Stages” (1972) was used as a frame for Mabou Mines performances. —Frances Richard
Hyperallergic, August 2012
Anything but Decorative: Robert Gordy and Tina Girouard
Girouard has claimed in an interview that the word “decoration” rarely emerged within the movement itself; the artists of the time thought of themselves as being interested chiefly in patterning. “We were all activists,” she said. “We were just expressing our ideas and our beliefs with whatever materials we could.” —Benjamin Morris
Pelican Bomb, September 2011
Review: Patterns and Prototypes at CAC
Girouard replaced minimalism’s hard edges with soft sinewy fabric and symbolic content as we see in her large Conflicting Evidence tapestry. A seasoned performance artist, she also collaborated with Laurie Anderson, Philip Glass and many others who were part and parcel of her exotically patterned life. —Eric Bookhardt
The Advocate, August 2011
The field and the table: Rosalind Krauss’s ‘expanded field’ and the Anarchitecture group
"Each person [Anarchitecture member] had his own area of interest. I was interested in the idea of psychological scale in architecture.." —Tina Girouard
Arq, 2011
112 Greene Street: The Early Years (1970 – 1974)
Girouard’s four-panel canopy of flowered fabrics, Air Space Stage, 1972, and matching floor-work, Lie-No, 1973, consisting of four lengths of flowered linoleum, begged to be activated by live bodies, though it wasn’t clear how. —Frances Richard
Artforum, January 2011
Tina Girouard: Curated by Susan Rothenberg
Among the high points of Girouard's exhibition history were invitations to international events such as Dokumenta 6 in Germany, the Venice Biennial, Paris Biennial and in 1983, a midcareer retrospective mounted at the Rufino Tamayo Museum in Mexico City. Albert Raurell, the museum's director, opened the exhibition catalogue with this remark, "Tina Girouard es una artista para los artistas, como se podria afirmar en el caso de Marcel Duchamp." —Michael Swindle
Cue Art Foundation, November 2004
The Wandering Mind: Journals and Diaries: Death Dances in Haiti
"Something within us all is unknowable and unchangeable." —Tina Girouard
BOMB, April 1996
You Can Go Home Again: Five From Louisiana
A few days before the opening, Girouard and three others performed her opulent, relaxed, colorful piece called "Pinwheel", which was preserved in the exhibition as a color videotape and cloth canopy sculpture. The piece related to Girouard's "Costumed Portrait" series; to her concern with role-playing, transformation, and their relationship to place; and to her interest in food as art -- and as adjunct to art and life. —Lucy R. Lippard
Art in America, July 1977
Five from Louisiana
"I've always thought of the audience as witnesses. They see my self-image, and at the same time they're having the mystery and myth of video taken away. I think the tapes reveal a lot about my attitude to the performer and the experience of performing. I don't think it should be a scary experience." —Tina Girouard
The Times Picayune, January 1977
The Bayou Bunch
In New York, the "Cajun crowd" is the life of the party; this month they are stirring things up back home with this New Orleans show of Five from Louisiana... —Barbara Rose
Vogue, January 1977CV
Tina Girouard
- 1946
- Born in De Quincey, LA
- Lived and worked in Cecilia, LA
- 2020
- Died in Cecilia, LA
Education
- 1968
- BFA, University of Southwestern Louisiana, Lafayette, LA
Solo Exhibitions
- 2020
- Tina Girouard - A Place That Has No Name: Early Works, Anat Ebgi, Los Angeles, CA
- 2019
- Tina Girouard: Pinwheel, Art Basel Miami Beach, with Anat Ebgi, Miami, FL
- Bondye: Between and Beyond, New Orleans Museum of Art (NOMA), New Orleans, LA
- 2018
- Tina Girouard: Parts Known and Unknown, Acadiana Center for the Arts, LaFayette, LA
- Tina Girouard - American Responses: Home, Salomon Contemporary, New York, NY
- 2004
- Tina Girouard, CUE Art Foundation, New York City, NY
- 1983
- Arthur Rogers Gallery, New Orleans, LA
- 1982
- Remoat/Remote Installation, De Vleeshal, Middleburg, Netherlands
- 1983
- Vamonos a México con Tina Girouard, Muséo Rufino Tamayo Arte Contemporaneo Internacional, México, D.F.
- 1982
- Conflicting Evidence, Zeeuws Kunstenaarscentrum, Middleburg, Netherlands
- Tina Girouard: Paintings, Prints and Drawings, Elmhurst Park Gallery, Lafayette, LA
- 1980
- Holly Solomon Gallery, New York, NY
- Works on Fabric and Paper, Holly Solomon Editions, New York, NY
- Street Sights, Institute of Contemporary Art, University of Pennseylvania, Philadelphia, PA
- 1979
- Even-Odd, window installation, Forum Stadpark, Graz, Austria
- Gallery Alexandra Monett, Brussels, Belgium
- 1978
- Revival, The Clocktower (Institute for Art and Urban Resources), New York, NY
- Metal, Holly Solomon Gallery, New York, NY
- War Play Work Rest, Holly Solomon Gallery, New York, NY
- 1976
- Video Installation, Anthology Film Archives, New York, NY
- Stencil Sets, Holly Solomon Gallery, New York, NY
- 1975
- Drawings for Video (with Richard Landry), 112 Greene Street, NY
- Drawings, Scores, Histories, Vehicle Art Inc., Montreal, Canada
- Color Photos and Video, Media Gallery, Alfred, NY
- Memphis Breeze, Memphis Academy of Arts, Memphis, TN
- Flags, 112 Greene Street, New York, NY
- 1974
- Sky Above Earth Below, Saint Cloud State Gollege, Saint Cloud, MN
- 1973
- Lay on Lie-No, University Gallery, Lafayette, LA
- Patterns, 112 Greene Street, New York, NY
- 1972
- Air Space State, Floor Space Stage, Sound Space Stage, 112 Greene Street, New York, NY
- 1971
- Hung House Installation, 112 Greene Street, New York, NY
- 1968
- University of Southwestern Louisiana, Lafayette, LA
Selected Group Exhibitions
- 2024
- A Walk on the Wild Side: ‘70s New York in the Norman E. Fisher Collection, MOCA Jacksonville, Jacksonville, FL (forthcoming)
- 2022
- Fire, Figure, Fantasy, Institute of Contemporary Art Miami, Miami, FL
- 2020
- Good Company: Pt. 1, Anat Ebgi, Los Angeles, CA
- Garden of Time: Textiles as Nature Poem, Mendes Wood DM, São Paulo, BR
- Videotapes. Early Video Art (1965-76), National Gallery of Art, Warsaw, Poland
- 2019-2020
- Pattern & Decoration: Ornament as Promise, travelling exhibition: Ludwig Museum, Budapest, Hungary; museum moderner kunst stiftung ludwig wien, Vienna, Austria; Ludwig Forum Aachen, Germany
- 2019
- With Pleasure: Pattern and Decoration in American Art 1972–1985, MoCA, Los Angeles, CA
- Pattern, Crime & Decoration, travelling exhibition: Le Consortium, Dijon, France; Musée d'Art Moderne et Contemporain, Geneva, Switzerland
- 2017
- Artist Run New York: The Seventies, Jean-Paul Najar Foundation, Dubai, UAE
- 2014
- Horray for Hollywood, Mixed Greens Gallery, New York City, NY
- 2013
- FOOD 1971/2013 - A tribute to Food Restaurant with Carol Goodden & Tina Girouard, Frieze Art Fair, New York, NY
- Gordon Matta-Clark: Gordon Matta-Clark, Suzanne Harris, Tina Girouard: The 112 Greene Street Years, Rhona Hoffman Gallery, Chicago, IL
- 2011
- Patterns and Prototypes: Tina Girouard & Robert Gordy, curated by Dan Cameron, Contemporary Arts Center, New Orleans, LA
- 112 Greene Street, The Early Years: 1970-1974, David Zwirner, New York, NY
- 1983
- Drive-In Disco (installation in collaboration with Richard Landry), New Orleans Contemporary Art Center, New Orleans, LA
- 1981
- Alternatives in Retrospect, New Museum of Contemporary Art, New York City, NY
- Tangeman Fine Arts Gallery, University of Cincinnati, Cincinnati, OH
- Inner/Urban, First Street Forum, St. Louis, MO
- The Decoration Image, McIntosh/Drysdale Gallery, Washington, D.C.
- 1980
- Drawings: The Pluralist Decade, Institute of Contemporary Art University of Pennsylvania, Philadelphia, PA
- Fabric into Art, Amelie A. Wallace Gallery, S.U.N.Y. College at Old Westbury, New York, NY
- Decoration, San Francisco Art Institute, San Francisco, CA
- A Decade of Women's Performance Art, Contemporary Arts Center, New Orleans, LA
- Dekor, Manheimer, Kunstverein, Mannheim, Germany; Amerika Haus, Berlin, Germany; Museum of Modern Art, Oxford, England
- Les Nouveaux Fauves—Die Neuen Wilden, Neue Galerie/Sammlung Ludwig, Aachen, Germany
- Greenberg Gallery, St. Louis, MO
- 1979
- Pattern Painting/Decoration Art, Galerie Krinzinger, Innsbruck, Austria; Galerie Modern Art, Vienna, Austria
- Clothing Constructions, Los Angeles Institute of Contemporary Art, Los Angeles, CA
- Patterns +, Dayton Art Institute, Dayton, OH
- Patterning and Decoration on Paper, The Mayor Gallery, London; Galerie Habermann, Cologne, Germany
- Patterning, Palais des Beaux Arts, Brussels, Belgium
- Patterning, Palais des Beaux Arts, Brussels
- 1978
- Painting and Sculpture Today 1978, Indianapolis Museum of Art, Indianapolis, IN
- Preview (Part of Gallery Opening Installation), Wade Gallery, Washington, D.C.
- Surrogates/Self-Portraits, Holly Solomon Gallery, New York, NY
- 1977
- Five From Louisiana, New Orleans Museum of Art, New Orleans, LA
- Pattern Painting, Institute for Art and Urban Resources at P.S.1, Long Island City, New York, NY
- Art Works on Paper, Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC
- Artist's Sets and Costumes, Philadelphia College of Art, Philadelphia, PA
- Projects of the Seventies, P.S.1, New York, NY
- 1976
- Purchase Show, Art Museum of South Texas, Corpus Christi, TX
- Self-Portraits, Fine Arts Building, New York, NY
- Non-Collectible Art from the Collection of Holly and Horace Solomon, Sarah Lawrence College Art Gallery, Bronxville, New York, NY; St. Lawrence University, Canton, New York, NY; Williams College, Williamstown, MA
- Performances/Objects, Holly Solomon Gallery, New York, NY
- New Work/New York, California State University, Los Angeles, CA
- Rooms, P.S.1, New York, NY
- Style and Process, Fine Arts Building, New York, NY
- 1974
- Group Show, Holly Solomon Gallery, New York, NY
- Anarchitecture, 112 Greene Street, New York, NY
- Works Words, The Clocktower, New York, NY
- Video Works, Leo Castelli Gallery, New York, NY
- 1973
- Lie-No, 112 Greene Street, New York, NY
- Dissolve, New York Cultural Center, New York, NY
- 1972
- Oleo, 112 Greene Street, New York, NY
- 1970
- Swept House, Brooklyn Bridge Event, New York, NY
- 1969
- Special Effects, Loveladies, New Jersey
Special Projects and Performances
- 2018
- 'Mardi Gras Suites and Quartets' 1974/2018, Acadiana Center for the Arts, LaFayette, LA
- 1981
- Other Realities—Installations for Performance (Performance 2C3TS), Contemporary Arts Museum, Houston, TX
- 1980
- A Few, Dilworth Plaza, City Hall, Philadelphia, PA
- 1979
- YAYA, Zagreb, Yugoslavia
- W.A.W.A. (Worker Aristocrat Witness Ancient), Palais des Beaux-Arts, Brussels, Belgium
- 1978
- Beached (with Creative Time Inc.), Battery City Landfill, New York, NY
- Mass Transit Strosz-Zeit, Graz, Austria
- Wedding is Black and White, Internationales Performance Festival, Vienna, Austria
- Spread, Museum of Contemporary Art, Chicago, IL
- 1977
- Petite Passe Partout, Grand Passe Partout, Paris Biennale '77, Paris, France
- Pinwheel, New Orleans Museum of Art, New Orleans, LA
- Soutwest-Northeast, Documenta '77, Kassel, Germany
- Visions (Sponsored by Creative Time Inc.), Old Customs House, New York, NY
- 1976
- Race, Fordham University, New York, NY
- Swiss Self, Salle Simon I Patino Centre d'Art Contemporain, Geneva, Switzerland
- Bowl and Belly, Sarah Lawrence College Art Gallery, Bronxville, NY
- 1975
- Mississippi Memphis Moon, Overton Park Amphitheatre, Memphis, TN
- Persona Projections for a Proscenium, Fosdick-Nelson Gallery, Alfred, NY
- 1974
- Video Tapes, The Kitchen, New York, NY
- Stage (a functioning sculpture for the Mabou Mines' production of B Beaver) Walker Art Center, Minneapolis, MN; Theater for the New City, New York, NY
- Juxtaposed Contained Revealed, The Kitchen, New York, NY
- Saint Cloud Air Space Stage, Saint Cloud State College, Saint Cloud, MN
- 1973
- The Bridge (collaboration with Barbara Dilley), Cross, Invocation, Lafayette, LA
- Allegory: Cloth River Road, Dance Gallery, New York, NY
- 1972
- Proszenium II, Documenta V, Kassel, Germany
- Proszenium I, Stadt Köln Kammerspiele, Köln, Germany
- Autumnal Equinox, 112 Greene Street, New York, NY
- Air Space Stage, Wall Space Stage, Sound Space Stage, Floor Space Stage, 112 Greene Street, New York, NY
- Body Beat Loop, 20 Quadrophonic Pipe, Bleeker Street Project, New York, NY
- 1971-72
- Tape-Video-Live, Leo Castelli Gallery, New York, NY
- Food, 127 Prince Street, New York, NY
- 1971
- Live House, 112 Greene Street, New York, NY
- 1970-71
- Hung House, a maintained environmental structure, New York, NY
- 1970
- Collaborative Performances with Richard Landry and Keith Sonnier, University of California at La Jolla, La Jolla, CA
- 1969-70
- Video Loop, Sound Loop, Body Beat Loop (Time and Distance) Studio Performances, New York, NY
Selected Press
- 2020
- Noor, Tausif. "Review: Tina Girouard." Artforum. July/August [Print] (Link)
- Moldan, Tessa. "Tina Girouard's Elevated Patterns." Ocula. July 31, 2020. (Link)
- 2019
- Knight, Christopher. "More is more. Why the ‘Pattern and Decoration’ show at MOCA is pure pleasure." Los Angeles Times (November 4, 2019) (Link)
- Is Bigger Better? Art Basel Miami Beach Tests the Waters with Meridians." Cultured Magazine (December 2019) (Link)
- Cascone, Sarah. "Art Basel Miami Beach’s New ‘Meridians’ Section, Where the Fair’s Biggest (and Best) Artworks Shine" artnet (December 4, 2019) (Link)
- 2011
- Richard, Frances. "'112 Greene Street: The Early Years (1970-1974)' at David Zwirner." Artforum (March 2011): 262-263 [ill.]
- Plagens, Peter. "True Grit." Art in America (March 2011): 41-42 [ill.]
- Picchi, Francesca. "Gordon Matta-Clark at 112 Greene Street." Domuseb.it (January 27, 2011) [ill.] [online]
- Schjeldahl, Peter. "Proto SoHo: Gordon Matta-Clark and 112 Greene Street." The New Yorker (January 17, 2011): 80-81 [ill.]
- Walsh, Brienne. "Greener Days: Matta-Clark and Alternative Spaces." artinamericamagazine.com (January 11, 2011) [ill.] [online]
- 1981
- Lippard, Lucy R. "Gardens: Some Metaphors for a Public Art," Art in America, vol. 56, no. 3, (November), pp. 136-150
- Silverthorne, Jeanne. "Alternatives in Retrospect: Review," Artforum, vol. 20, no. 1, (October), pp. 78-79
- Crossley, Mimi. "Performers Seek Other Realities," The Houston Post, July 26, pp. AA-10, 15
- 1980
- Radice, Barbara. "Superfici, equipotenziali, piacevoli, dipinte," Modo, (September), pp. 60-64
- 1979
- Olejarz, Harold. "Review," Arts Magazine, vol. 53, no. 5, (January), p. 16
- Rickey, Carrie. "Decoration, Ornament, Pattern and Utility: Four Tendencies in Search of a Movement," Flash Art, no. 90-91, (June/July), pp. 18-30
- Perrecault, John. "The New Decorativeness," Portfolio, vol. 1, no. 2, (June/July), pp. 46-50
- Boudaille, Georges. "Pattern Painting," Connaissance des Arts, no. 331, (September), p. 54
- 1978
- Howell, John. "Art Performance: New York," Performing Arts Journal, vol. 1, no. 3, (Winter), p. 28
- 1977
- Rose, Barbara. "The Bayou Bunch," Vogue, vol. 167, no. 1, (January), p. 40
- Lippard, Lucy R. "You Can Go Home Again: Five From Louisiana," Art In America, vol. 64, no. 4, (July/August), pp. 22-25
Awards/Residencies
- 1984
- Grant, Louisiana Department of the Arts, Lafayette, LA
- 1983
- Grants, National Endownment for the Arts
- 1976
- Grants, National Endownment for the Arts
- 1973
- Creative Artists Public Service Program (CAPS) Grant, New York, NY
Collections
- Institute of Contemporary Art Miami, Miami, FL
- Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY
- Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA
- Ludwig Forum für Internationale Kunst Aachen, Collection of the Peter and Irene Ludwig Foundation, Germany
- Museum of Modern Art, New York City, NY
- Rufino Tamayo Museum, Mexico City, Mexico
- Stedelijk Museum voor Actuele Kunst, S.M.A.K., Gent, BE