Kim Rice’s work will be featured at the Artspace gallery in Richmond, Virginia in the fall of 2019. The solo exhibition, which runs from September 27 through October 20, 2019, will include new work not previously shown.
Announcing a new show in January 2020 at the Fitton Center for Creative Arts in Hamilton, Ohio. The solo exhibition will feature Kim Rice’s latest work. Details to come.
Kim Rice’s redlining work was awarded fourth place at the 32nd annual international juried craft exhibition put on by the Greater Denton Arts Council in Denton, Texas. Juried by Janet McCall, the show begins February 1st, 2019 and runs through March 4th.
Kim Rice’s work will be in the Alexandria Museum of Art in Alexandria, LA. The show, Concrete and Adrift on the Poverty Line, runs March 1st to June 22nd, 2019.
The spring 2019 exhibition “Data: BIG/-driven/Visualized…” will include selections of Kim Rice’s work with redlining maps. Put on by North Illinois University Art Museum in DeKalb, Illinois, the show is guest curated by Richard Siegesmund, a professor of Art and Design Education with a focus on “the design of data reports that promote thoughtful public reflection and discussion.” The show dates are March 28 - May 17, 2019
Kim Rice’s work will be in the Trestle Gallery Applicant Exhibition, which is up December 21, 2018 through January 1, 2019 in concert with the gallery exhibit.
Kim Rice was a finalist for the 2019 Kalos Visual Art Prize, awarded annually by Ruminate magazine.
Kim Rice’s large works White Side and The Divide will be installed at the Delaware Art Museum throughout the fall and winter of this year. The museum's Juried Craft Exhibition opens October 20, 2018 and continues through January 27, 2019.
Kim is the lead artist for a community-wide mural celebrating O’Donnell in Baltimore, MD.
Kim has created a Richmond redlining installation for the Torpedo Factory Art Center in Alexandria virginia being installed April 20th through September 14, 2018.
Work by Kim Rice will be at the Foundry Art Centre in St. Charles, Missouri as part of the exhibit Micro Macro, juried by metalsmith Peg Fetter. The show “will display two opposites: one half focusing on small works (micro) and the other half focusing on works larger than 48 inches (macro).” The opening reception on Friday, August 17 is free and open to the public.
And Now for Something New, a new juried art exhibit hosted by LeMieux Galleries, will include work by Kim Rice. The show opens on Saturday, August 4 during the art district's annual White Linen Night. From their announcement: “This year's jurors are premier illustrator and classical realist painter, Michael Deas and interdisciplinary artist, curator and educator Jan Gilbert.” The show runs through the end of September, 2018.
Kim Rice’s latest redlining work has been selected for the 22nd annual NO DEAD ARTISTS exhibit, an “International Juried Exhibition of Contemporary Art” held at the Jonathan Ferrara gallery in downtown New Orleans. The show opens August 29 and runs through September 28, 2018.
Video courtesy of Jonathan Ferrara Gallery
Closing reception for The Divide at CANO Creative Spaces will be held in September. Installed as part of Prospect.4 Satellite, the piece spans over fourteen 4' x 10' panels. Images and related work can be seen in the redlining section of this web site.
Kim Rice’s November 22 interview on “Crosstown Conversations” is now available online. From the studio of WBOK New Orleans she and host Jeanne Nathan discussed her work for Prospect.4 Satellite and the legacy of redlining in America. Listen to their conversation at SoundCloud.
Illusion of Ordinary has won third place in the 2018 National Juried Exhibit at the Delaplaine Arts Center in Frederick, Maryland.
This year’s Prospect New Orleans will include new work from Kim Rice—a 1000-square-foot fiber-art installation—as part of its triennial Satellite program. Prospect.4: The Lotus in Spite of the Swamp will feature works from a wide variety of artists exploring the creation of beauty from darkness and struggle. The show opens November 18th and runs through May 2018.
Several of Kim Rice’s works will be showing this spring at Red,White + Blue a national exhibition juried by Camilo Alvarez. The selection will include work from both her magazine and redlining series. The show opens March 16, 2018 and runs through April 20. Opening reception Friday, March 16 at the Brookline Arts Center in Brookline, Massachusetts.
Kim Rice’s work “Redlining” will appear in the in the Jodee Harris Gallery at Seton Hill University in Greensburg, Pennsylvania as part of a collaboration with the Society for Contemporary Craft. The exhibit takes place October 26th through November 21st, 2017.
Kim Rice’s large-scale work White Side will be installed at the Yeiser Art Center in Paducah, Kentucky. Fantastic Fibers is “an international juried exhibition that seeks to showcase a wide range of outstanding works related to the fiber medium.” This catalog show is put on every April.
Several works from Kim Rice’s series White issues will be on display at the OU Lightwell Gallery as part of the exhibit “Fictive Selves of Color.” The show, presented by the Oklahoma Visual Arts Coalition, “explores how different colors and races contribute to Aesthetics and Ethics in society” and runs from March 6th – 24th.
Three of Kim Rice’s pieces will be on exhibit at the Mildred Cox Gallery in conjunction with the symposium “Equality Matters: Conversations on Gender and Race” at William Woods University in Fulton, Missouri. The show opens Thursday, March 3 and runs through April 3.
A map from Kim Rice’s redlining series has been selected for the biennial “24 Works on Paper,” a travelling exhibition of paper-based work by contemporary artists. The show runs through the end of January 2018. See the web site for the schedule.
Kim Rice’s 11'×19' installation White Side will be exhibited this November at the Harry Wood Gallery in Tempe, Arizona, as part of the Fiber Arts Network's 2016 catalog show It Took A While. The opening reception is Tuesday, November 8.
On September 23, Kim Rice will be among the artists auctioning their work at this year’s 12×12, an annual event held by the Oklahoma Visual Arts Coalition. Open to the public starting at 7pm.
Kim Rice’s redlining installation won the Curator's Choice Award in the 2016 Concept/Survey show curated by Adam Welch. The exhibition is showing through through July 23rd at the Hardesty Art Center in Tulsa, Oklahoma.
Kim Rice is a Finalist for the New Orleans Art Council Direct Purchase award. Her work will be shown during the Art+Architecture Forum in New Orleans on May 5th.
Two of Kim Rice's pieces will be auctioned off at Noche Cubana!, a celebration of Cuban arts and culture, including music, dance, art, and comedy. The event takes place on Saturday, April 2, at Mainsite gallery in Norman, Oklahoma.
Kim Rice's work is being shown at Mainsite gallery in Norman, OK as part of the exhibition Public Narrative: Story of Self, Us, & Now, a show curated by the 2015 Oklahoma Art Writing and Curatorial Fellows to "highlight the complexity of our stories as we look inward, to the community, and finally, to the future." (source). February 12 — March 11, 2016
Kim Rice is a finalist in the upcoming Concept/Focus, a triennial curated group exhibition of new work by 4 Oklahoma artists and 4 artists from a partner city in the region.
Kim Rice's work is being shown at the Jonathan Ferrara Gallery in New Orleans as part of the 19th annual NO DEAD ARTISTS, an international juried exhibition of contemporary art. September 2 – 26, 2015
Kim Rice is featured in the September/October issue of Art Focus Magazine.
Kim Rice's work will be shown at the Seven-States Biennial Exhibition, opening September 26 at USAO's Nesbitt Gallery. The show will travel to the Charles B. Goddard center in Ardmore and closes out in the Musesum of the Red River in Idabel, Oklahoma on November 4.
In the 1930’s, as a means to boost the middle class, the US Government made mortgages available through a program called the Home Owners’ Loan Corporation (HOLC). In a well-documented process known as redlining, government officials outlined neighborhoods on city maps and then color-coded the areas. The neighborhoods deemed “declining” (yellow) or “hazardous” (red) were not considered for mortgages—these were integrated or non-white neighborhoods. Banks and insurance companies followed the example of the Federal Government and did not finance home ownership in these areas either. This practice was legal until 1968. The residue of this institutional racism continues to segregate, allowing some communities to thrive while others suffer.
Equality in America is directly linked to property. It is the way we accrue money, pass down inheritance, and get access to education, food, and employment. Where you live in the United States is even linked to life expectancy. In an era of constant information it is important to repeat a truth over and over again until we fully understand it and deal with it. As a white person I recognize my middle class status, my education, my profession and my ability to be a homeowner today are directly linked to my grandparents’ and great-grandparents’ ability to own property.
