Jordan Hauser jhauser@kcai.

edu

1. Pick up a six-pack of beer, it doesnt have to be your favorite, and record the name and specic brew. This will be the title of your poem. 2. Start drinking (your hair doesnt have to be clean for this). 3. Take a look at your phones IM history and choose a set of messages from a single person (its best if the messages go back at least a year, preferably two). 4. Start at the beginning and start recording; method, style, and format is up to you, but you must maintain content delity.

Lauren McGill lmcgill@kcai.edu

THE P OSITIVE P OWER OF SHUNS Preservation preserve verb 1. maintain (something) in its original or existing state.

Positive emotions can be hard to preserve. At times it can be helpful to employ a ritualistic activity to reinforce positivity. Identify an object, event, emotion, person, etc. that has brought joy or peace of mind. Before bed, jot down what you would like to preserve on a scrap of paper and tape it to your bathroom mirror. In the morning, while you are brushing your teeth or washing your face focus on the positive emotion you felt the day before. Observation observe verb 1. notice or perceive (something) and register it as being signicant.

In our busy, contemporary lives sounds are often ignored and forgotten. We are bombarded with sounds daily, the sound of the refrigerator motor humming, the sound of cars skidding down the street at night, or even the sound of the television show you are partially paying attention to on Netflix. Focus on identifying a sound you hear throughout the day that triggers a positive childhood memory. On a scrap of paper write down the sound and related memory. Place the writing in an envelope under your bed until nightfall. Before bed meditate (focus) on the sound and memory. In the morning, try to recall if the sound or memory manifested itself in your dreams. Destruction destruct verb 1. cause deliberate, irreparable damage to (something, typically a rocket or missile).

Destruction is often associated with negative actions or emotions, but it doesnt always have to be. Utilizing destruction as a tool to simplify can act as an liberating and amusing way to gain control of the amount of excess in our lives. Choose an object, emotion, activity, person, etc. that has no positive function or value within your life. Focus on eliminating the chosen (thing) from your life either physically or emotionally each night before bed for the following week.

Florentino Diaz fdiaz@kcai.edu

THINGS IM BAD AT BUT YOU MIGHT BE GO OD AT (Title inspired by my want to send people postcards but my inability to do so) Ive always been interested in the idea of a curated object. Be it a zine, a shop or a book. The idea of bringing many things together (things that usually wouldnt be) that correlate with one another ambiguously and create a new type of conversation. I also nd it interesting when word and image are presented together, when I make images they usually are accompanied by a short story of sorts. Which brings me to this prompt: Using the included postcard for inspiration: create 10 blank postcards (6.25 x 3.5 inches). Create or gather (from friends, family, classmates, or even strangers) one side of the postcard (front image vs. hand-written letter). This can be a work of ction or not ction, poetry, comics, etc. These postcards will not be physically sent to any recipient and will be installed at the end of semester show to be completed.

Patricia Bordallo pbordallodibildox@kcai.edu

REAL GIVING We are artists. We are visionaries and creators, and we are continuously eager to share our work with our audience. We document, publish, print, frame and hang. We do these things with the intent of giving our art a life outside of our studios. It is in this sharing of our art that we receive a sense of achievement, almost as if we are always making art for others and not ourselves. Our work may end up on a billboard with thousands of drivers briefly glancing it everyday or hanging in a gallery in a city weve never visited, but we feel rewarded whether the viewer experiences the work positively or not. What if we were to experience art making without the satisfaction of sharing, but rather giving? The point. The two requirements of real giving is simply to create something you care about and to give it away anonymously. The point is for you to part with an artwork that you are truly content with and to blindly give it to the world. You must consider your usual studio practice and question who you usually make your art for. When making your piece, know that you will not be critiqued on craft or concept or work ethic. You need to simply focus on nishing a piece, whatever that means to you, and parting with it. Instructions: 1. Make the work Photograph(s), drawing(s), poem(s), print(s), etc. Put some heart into it or lots and lots of heart into it The more you value the piece you are giving away, the better 2. Put the Work in a container (i.e. envelope, shoe box, glass jar). Consider the conditions that you will leave the container in (i.e. leaving a paper envelope at a bus stop on a rainy day may not be ideal) 3. Plant the container in a public place Try and stray from places you visit often (i.e. planting the container where someone that could recognize your work may nd it jeopardizes the point) Be sneaky: leave it behind and dont look back

Hayley Books hbooks@kcai.edu

Create a series of small, portable installations (paintings, sculptures, prints, photographs, drawings, etc) and place them throughout Kansas City. Gain meaning from context: Where do your pieces belong? Where do they not belong? Can they comment on high art by sneaking them into the Nelson, or can they become a new part of someones everyday activities by being placed at a gas pump? Find a way to make them interactive by including writing, creating physical depth through construction, or hiding imagery/meaning that forces the viewer to look twice. Your pieces can be made from inexpensive/ephemeral materials, and would exist for the nal show as photographs.

Juanita Martinez jmartinez@kcai.edu

Through means of photographing and collecting, this prompt will ask you to capture the essence of self in a simple, direct, and personal way. You will create an archive of yourself using original photographs, writings, and other scraps (receipts, notes, letters, etc.). You will then nd a way to organize your collection into a presentable nal artifact or body of work. The overall goal of this prompt is to expose and capture yourself, people, and objects as they are in the moment, using bits of ephemera to create a tangible trail of your life.

Miles Fermin mfermin@kcai.edu

I am presenting a series of images. Produced through photography, photoshop, and printing. The three Ps to my studio practice. I really became interested into the naivety that can come to inexperienced photoshop users or computer users. Also how people react to computer processed images, specically when something like a glitch is involved. The same way a painter may receive a comment like, The hand is present, or it has been touched. I tried to achieve that with these imagesobvious moves on a digital image, that reveal the magic. Or lack of magic. Pixelation, stretched text, nonsense, color matching. With the material presented, I want the participant to go through and pick out some of their favorite moments. Scan the images, cut them up, do anything to use my content as source material. Take into account the moments of digital interference. How can they translate that language into their own work. How can a painter, or an animator, add that false sense of inexperience to their work. It has gotten to the point where it is easier to make something look slick and clean, so how can we go back to the rough edges on our computers?