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
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’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
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
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
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
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
Kim Rice’s large-scale work White Side
will be installed at the Yeiser Art Center in Paducah, Kentucky.
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.
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.
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'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
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.
The Safety Net - Baltimore
6' × 7'
The Safety Net — Richmond
5' × 8'
roofing paper, New Orleans HOLC maps
Fourteen 4' x 10' panels
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)