Kim Rice's solo exhibition
The Greatest City in America will be at the
Top of the World Gallery
September 7th
through November 19th. Opening reception is Thursday,
September 7th.
This summer, Alex Ebstein interviewed Kim Rice for Inertia.
Studio Visits. His review begins:
Kim Rice is an artist who transforms everyday materials and
personal imagery into intricate, often large-scale installations
that explore systemic racism as it has affected physical
geography and personal history. I met Kim through her residency
at Goucher College as the Unobskey Visiting Artist in Modern and
Contemporary Art and had the pleasure of learning more about her
work and process through conversations both in her studio and on
campus. Her labor-intensive pieces are impeccably crafted,
drawing viewers from across a space with their beauty, and
delivering their critical content on closer approach. I met up
with Kim in her studio at School 33 in Federal Hill to continue
our conversations for Inertia Studio Visits and check in on what
this prolific artist is up to next.
Kim Rice is a part of a dual solo exhibition presented by
Accomplished Art Services. Her work can be viewed alongside
Jeffrey Kent’s at 246 W. 16th Street in Chelsea, NYC. Go to
beingblackbeingwhite.com
to schedule a viewing appointment.
Kim Rice’s work is included in the
25th annual No Dead Artists exhibit
at the Jonathan Ferrara Gallery in New Orleans. The show runs
through October 2, 2021.
Works from Kim Rice’s
Inheritance series will
be shown as part of A Thousand Words, Vol. 3, a virtual
exhibition that explores text as a means of commentary and
communication as well as a visual art form. A physical
exhibition takes place at the
Essex Gallery
in Baltimore in the spring of 2021.
Announcing a new show in October 2020 at the
Peale Museum in
Baltimore, Maryland. The solo exhibition will feature Kim Rice’s
latest work and runs through January 2021.
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.
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.
Kim Rice is teaching a graduate seminar entitled "Art and Social
Change" at Oklahoma University as part of the 2019-2020
Oklahoma Scholar-Leadership Enrichment Program. The course runs October 2nd through October 6th
and features guest presentations from several artists and other
figures active in the Oklahoma art community.
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.
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 GalleryApplicant Exhibition, which is up December 21, 2018 through January 1, 2019 in
concert with the gallery exhibit.
White Side and The Divide at the Delaware Art
Museum
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.
Torpedo Factory
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.
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.
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.
Fantastic Fibers
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.
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'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.
Complicit
Hand-woven self portrait and redlining maps
Hit Home
Hand-cut redlining maps
5' x 5'
Manhattan
Queens
Brooklyn
The Long Shadow Cleveland
Hand-cut and embroidered redlining map
Installed at the Fitton Center
Hamilton
Installed at the Fitton Center
Portsmouth
Installed at the Fitton Center
Akron
Installed at the Fitton Center
The Safety Net - Baltimore
18,046 zipties
6' × 7'
The Safety Net — Richmond
17,000 Zipties
5' × 8'
The Divide
roofing paper, New Orleans HOLC maps
Fourteen 4' x 10' panels
Redlining Tapestries
HouseWrap, HOLC (redlining) maps
Two panels, 3' x 11' each
Installed detail courtesy of Jonathan Ferrara Gallery
Redlining My Life (Installed at Hardesty Arts Center, Tulsa OK)
Magazines, HOLC maps, washi tape
10' x 17' (measurements adaptable)
Redlining My Life (Installed at Mainsite Contemporary)
