The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
Headings, paragraphs, blockquotes, figures, images, and figure captions can all be styled after a class is added to the rich text element using the "When inside of" nested selector system.
The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
Headings, paragraphs, blockquotes, figures, images, and figure captions can all be styled after a class is added to the rich text element using the "When inside of" nested selector system.
%201.22.06%E2%80%AFp.m..png)
SIGN-IN is the first comprehensive retrospective devoted to the artist Tina Girouard (b. Louisiana, USA, 1946–2020). Girouard was a dedicated experimental artist, collaborator, and art worker, whose practice contributed to feminist movements in art, craft, performance, and video. She was also, in 1983, the first woman to stage a solo exhibition at the Museo Tamayo, Vámonos a México. Over forty two years later, SIGN-IN presents the full arc of Girouard’s practice, articulating the artist’s lifelong inquiries into retooling materials and co-creating spaces.
Central to Girouard's practice was the notion of “maintenance,” a process of upkeep that recognized and affirmed the spirituality of everyday objects and interactions. The artist’s habitual and ritual acts of maintenance extended to domestic labor traditionally associated with “women’s work.” For Girouard each space, whether domestic or artistic, was a site of possibility for re-imagining how to expand ideas of collectivity across art worlds.
“I like art to function as a preserve, as a refuge,” wrote Girouard. By blurring the boundaries between her public contexts and private lives, she built and maintained such temporary refuges. In the structures that Girouard created, the elements were sacred and every organization of people, materials, and signs was more than the sum of its parts.
Following the premiere of Tina Girouard: SIGN-IN at the Ogden Museum of Southern Art in New Orleans, LA, where the exhibition was researched and organized by Rivers Institute for Contemporary Art & Thought, SIGN-IN traveled to the Center for Art, Research and Alliances (CARA) in New York, NY, where Rivers and CARA collaboratively organized Girouard's first New York City retrospective. The debut of SIGN-IN at Museo Tamayo was born of this partnership between CARA and Rivers.
Tina Girouard: SIGN-IN at Museo Tamayo is curated by Manuela Moscoso, Executive and Artistic Director of CARA, together with Andrea Andersson, Rivers Founding Director and Chief Curator, and Jordan Amirkhani, Rivers Curator.
Photo of Tina Girouard’s Mass Transit (Stosz Zeit), staged at the Landhaushof Palace, for the Osterreichischer Kunstverein Internationales Performance Festival in Graz, Austria, 1978. Photo taken by Ferdinand Neumuller. ©️ Courtesy of Ferdinand Neumuller and the Estate of Tina Girouard.
SIGN-IN is the first comprehensive retrospective devoted to the artist Tina Girouard (b. Louisiana, USA, 1946–2020). Girouard was a dedicated experimental artist, collaborator, and art worker, whose practice contributed to feminist movements in art, craft, performance, and video. She was also, in 1983, the first woman to stage a solo exhibition at the Museo Tamayo, Vámonos a México. Over forty two years later, SIGN-IN presents the full arc of Girouard’s practice, articulating the artist’s lifelong inquiries into retooling materials and co-creating spaces.
Central to Girouard's practice was the notion of “maintenance,” a process of upkeep that recognized and affirmed the spirituality of everyday objects and interactions. The artist’s habitual and ritual acts of maintenance extended to domestic labor traditionally associated with “women’s work.” For Girouard each space, whether domestic or artistic, was a site of possibility for re-imagining how to expand ideas of collectivity across art worlds.
“I like art to function as a preserve, as a refuge,” wrote Girouard. By blurring the boundaries between her public contexts and private lives, she built and maintained such temporary refuges. In the structures that Girouard created, the elements were sacred and every organization of people, materials, and signs was more than the sum of its parts.
Following the premiere of Tina Girouard: SIGN-IN at the Ogden Museum of Southern Art in New Orleans, LA, where the exhibition was researched and organized by Rivers Institute for Contemporary Art & Thought, SIGN-IN traveled to the Center for Art, Research and Alliances (CARA) in New York, NY, where Rivers and CARA collaboratively organized Girouard's first New York City retrospective. The debut of SIGN-IN at Museo Tamayo was born of this partnership between CARA and Rivers.
Tina Girouard: SIGN-IN at Museo Tamayo is curated by Manuela Moscoso, Executive and Artistic Director of CARA, together with Andrea Andersson, Rivers Founding Director and Chief Curator, and Jordan Amirkhani, Rivers Curator.
Photo of Tina Girouard’s Mass Transit (Stosz Zeit), staged at the Landhaushof Palace, for the Osterreichischer Kunstverein Internationales Performance Festival in Graz, Austria, 1978. Photo taken by Ferdinand Neumuller. ©️ Courtesy of Ferdinand Neumuller and the Estate of Tina Girouard.
SIGN-IN is the first comprehensive retrospective devoted to the artist Tina Girouard (b. Louisiana, USA, 1946–2020). Girouard was a dedicated experimental artist, collaborator, and art worker, whose practice contributed to feminist movements in art, craft, performance, and video. She was also, in 1983, the first woman to stage a solo exhibition at the Museo Tamayo, Vámonos a México. Over forty two years later, SIGN-IN presents the full arc of Girouard’s practice, articulating the artist’s lifelong inquiries into retooling materials and co-creating spaces.
Central to Girouard's practice was the notion of “maintenance,” a process of upkeep that recognized and affirmed the spirituality of everyday objects and interactions. The artist’s habitual and ritual acts of maintenance extended to domestic labor traditionally associated with “women’s work.” For Girouard each space, whether domestic or artistic, was a site of possibility for re-imagining how to expand ideas of collectivity across art worlds.
“I like art to function as a preserve, as a refuge,” wrote Girouard. By blurring the boundaries between her public contexts and private lives, she built and maintained such temporary refuges. In the structures that Girouard created, the elements were sacred and every organization of people, materials, and signs was more than the sum of its parts.
Following the premiere of Tina Girouard: SIGN-IN at the Ogden Museum of Southern Art in New Orleans, LA, where the exhibition was researched and organized by Rivers Institute for Contemporary Art & Thought, SIGN-IN traveled to the Center for Art, Research and Alliances (CARA) in New York, NY, where Rivers and CARA collaboratively organized Girouard's first New York City retrospective. The debut of SIGN-IN at Museo Tamayo was born of this partnership between CARA and Rivers.
Tina Girouard: SIGN-IN at Museo Tamayo is curated by Manuela Moscoso, Executive and Artistic Director of CARA, together with Andrea Andersson, Rivers Founding Director and Chief Curator, and Jordan Amirkhani, Rivers Curator.
Para socializar la heterogeneidad de voces que construyen la exposición colectiva OTRXS MUNDXS y profundizar en el discurso de las obras exhibidas en el Museo Tamayo, le pedimos a lxs artistas que nos hablen acerca de los conceptos o ideas que son importantes para expandir los discursos o motivaciones de su práctica.
