Closing Reception + Artist Talk

I will be giving an artist talk at the closing of my solo show, Blizzard, at Relevant Goods on Friday, January 13th, 2017. Blizzard is a show of 15 monoprints in which visual information is obscured by means of accumulation, redaction, and cover up.

Closing Reception:
Friday, January 13th, 6-7 pm

Artist Talk:
6:30 pm

Relevant Goods
250 Broadway
Denver, CO
 

Red Delicious Print Exchange

The Red Delicious Press cooperative (of which I am a member) put together a print portfolio exchange this to celebrate Mo' Print this March in Denver. The portfolio of 10 prints will be showing at Spark Gallery in the month of March.

I contributed with a satirical take on our theme "Red Delicious", in  reaction to the terrible decisions that led to the water crisis in Flint, Michigan in 2015. The print is a 9" x 12" two-block woodcut, edition of 12.

Copyright Kim Morski 2016

FRESH BREAD: An Edible Collaboration for Mo' Print Denver!

Kim Morski, FRESH BREAD (2010)

Kim Morski, FRESH BREAD (2010)

This March, Denver-based artists Kim Morski and Carmiella Salzberg will present FRESH BREAD, an edible collaboration connecting the voices of refugee youth in Denver to the greater community through the platform of printmaking.

Join us at Red Delicious Press on Saturday, March 12th from 3:30 – 7:00 pm to participate in an edible print project in which hand drawn images created by youth participants in the International CITY after-school program will be screen printed with edible ink onto flatbread, made and baked on the spot to enjoy. The International CITY students will also be selling their own limited edition screen prints to raise money for the International CITY after-school program and Red Delicious Press.

Bread is an essential, base food, recognized and enjoyed by cultures in various forms all over the world. It is also a historically meaningful symbol of sustenance, family, home, covenant, and community. As we share the bread, we are reminded of the beauty in our diversity and our commonality.

Take, break, & eat.

About the collaborators:

• The International CITY after-school program is run through the refugee resettlement agency, the African Community Center. Learn more at www.acc-den.org
• Red Delicious Press is a cooperative fine art printmaking facility in Aurora, CO, committed to making printmaking accessible to the community. Learn more at www.reddeliciouspress.com
• This project is organized by Denver-based printmaking artists and Red Delicious Press members, Carmiella Salzberg and Kim Morski, Learn about their work at www.carmiella.com and www.kimmorski.com

Columbia Tribune Article on Sager Braudis Gallery Exhibit

Amy Wilder of the Columbia Daily Tribune wrote a review of the 2015 Autumn Exhibit at Sager Braudis Gallery. Click HERE to read the full article. Below is an excerpt from the article discussing my work.

... Kim Morski combines image and text with context and meaningful materials into dark narratives with humorous undercurrents. While Sleadd’s imagery evolves out of a place of dreams and storytelling, Morski’s storytelling evokes historic events, particularly centered in St. Louis, where her parents grew up and where she spent years studying printmaking at Washington University.

 

Before leaving St. Louis several years ago, Morski came across the dissertation of Lisa Martino-Taylor, a doctoral candidate at the University of Missouri-Columbia, whose research centered on military-sponsored research conducted in impoverished areas of St. Louis during the Cold War era of the last century. Martino-Taylor obtained declassified documents outlining the extent of these tests, which involved the spraying of zinc cadmium sulfide, possibly irradiated, into the Carr Square neighborhood and the Pruett-Igoe housing complex in particular.

 

“I have actually met Lisa since I started making my work, and she was actually at the opening for this show,” Morski said in a phone interview. “A lot of this work started after I read her dissertation. ... It definitely hit close to home.”

 

There’s a cynical bent to her imagery and the narrative thread of her work, coupled with gorgeously executed craftsmanship and artful wordplay. In “Nation Wide Cover Age,” a relief carving on a headboard Morski said she turned into art because she couldn’t bear to part with it, the arched white surface has been carved with floral motifs and words.

 

Morski takes up a relatively small amount of gallery real estate, but her work counterbalances the physical space with volumes of meaning and impact. She is primarily a printmaker, but sculptural work is also included, objects that reflect the culture of St. Louis and imagery in her prints, like carved, painted wooden bricks straight out of one of her prints.

 

She takes up the banner of previous generations’ artists who have become political/satirical cartoonists and graphic artists. It’s important to remember that the cartoon is not simply a childish medium but has a long history rooted in charged graphic imagery, like that of Honoré Daumier.

 

Morski hesitates to claim she is casting judgments on the events that inspired her work, saying she is more interested in examining the cultural impact and the role of people on both sides of the issue.

 

 

“It really hit home for me, thinking about my own family members being affected,” she said. “Or possibly being people who were involved. That’s what struck me: this idea of everyday people being part of this larger strategy that they’re not fully aware of.”