Summer intersession 2008
See summer 2008 registration/policies here
Visiting instructors 2008
Degree program classes
Dreaming in Magyar: Summer Abroad in Hungary & Croatia
May 19 - June 20
Sketch, sculpt and travel t in Eastern Europe as we explore this exciting region of the world on the cultural highway between East and West. For four weeks your home base will be the International Ceramics Studio, a professional residency center located in Kecskemet, Hungary. Hungary has a long tradition of ceramic art, from folk art wares to the exquisite Art Nouveau luxury wares of the Zsolnay Company and the fine porcelains of Herend. There is also a strong history of using architectural ceramics on Hungarian buildings, as we will discover on walking tours of Kecskemet, Budapest, and Pecs. Additionally, aqua waters of the Aegean Sea and pristine beaches await our arrival off the coast of Croatia, on the Island of Rab. This four-day adventure will be an opportunity to be exposed to Croatia’s art and architecture.
6 credit hours (studio elective and/or liberal arts elective)
Cost: $4,100
Faculty: George Timock, Ceramics, and Dominique Davison, AIA, Davison Architecture & Urban Design LLC
For more information call George Timock at 816-802-3316 or Dominique Davison at 816-531-8303.
Session I
Liberal arts classes
Monday, June 2 - Wednesday, June 25
Classes meet Monday – Thursday
Topics in Renaissance Art: Italian High Renaissance
ARTHI 3200-05
At the height of the Renaissance, three masters emerged: Leonardo Da Vinci, Michelangelo Buonaraotti, and Raphael Sanzio. They were contemporaries and rivals—men of passion. They were also Master Artists, scientists, poets, and philosophers. In this class we will examine their artwork and writings, in the cultural milieu of Renaissance Europe.
Faculty: Michele Fricke
Location: BH 103
Time: 1 - 3:50 p.m. MTWR
Topics in Art and Gender Studies: Sexuality and Art
ARTHI 3725-01
Human sexuality, which is expressed in a myriad of ways, has been a constant theme in the history of Western and non-Western art. It has preoccupied artists from prehistory to the present, and almost every type of sexuality—heterosexual, homosexual, bisexuality, et al—has been investigated and portrayed in the visual arts. In many instances sex is portrayed openly, but at other times it is hidden and represented covertly due to the nature of the sexuality being expressed and the cultural prohibitions of the time. Also, what might appear to one person to be a work of fine art may be perceived as straightforward erotica or offensive pornography by another individual. This course will explore this subject thematically, examining representations of sex across time and among different cultures.
Faculty: Reed Anderson
Location: BH 102
Time: 4 - 6:50 p.m. MTWR
Topics in Art as History: Modern Japanese Film
HIST 3000-08 [satisfies liberal arts’ requirement for global/comparative course]
This course will begin with Japan’s return to the international film circuit in 1953 when Ugetsu by Kenji Mizoguchi was entered in the Venice Film Festival which resulted in the San Marco Silver Lion Award. Mizoguchi’s successful entry touched off a renaissance in Japanese film that came to include award-winning works by Yasujiro Ozu and by Akira Kurosawa. In the 1950s, Japanese film captured a wide international audience and has remained a source of innovative new film. Recent controversial films that deal with drug addiction and social dislocation include Ishii Sogo’s Angel Dust and Tsukamoto Shinga’s Tetsuo the Iron Man, a shocking protest against industrialization.
Faculty: Hal Wert
Location: EB 217
Time: 9 - 11:50 a.m. MTWR
Topics in American Studies: The Times They Are A-Changin’
HIST 3100-05 [can also count for LITR or SOCI credit]
As Bob Dylan’s prophetic song of 1964 clearly illustrates, art not only reflects societal values and social conflict, it can also serve as a powerful influence for social change. This course will use the medium of film to examine the history of race, class, and gender as major contributors to social conflicts that have shaped and transformed American society. As we investigate the history of modern American film, we will learn how social conflict arises through economic, racial, and gender relationships. At the same time, we will examine and think critically about our own values in regards to race, class, and gender. Other topics to be explored are how individuals and groups minimize and manage social conflict in American society and the role that human morals and values play in this endeavor. Required readings on race, class, and gender in contemporary American society will include a number of handouts. Students will be expected to apply contemporary theories of race and ethnicity, current debates about identity and representation, and cultural studies to the analysis of the respective films. There will be two analytical papers, 5-6 typewritten pages, double-spaced. Regular attendance is required.
Faculty: Milton Katz
Location: BH 102
Time: 1 - 3:5 0 p.m. MTWR
Topics in Aesthetics: Writing and Thinking
LITR 3000-05/PHIL 3000-05
This creative writing course invites students to write poems and/or stories, submit them to the class for critique, and then investigate the philosophic issues implicit (but often unexamined) in the nature of writing. Lectures will explore humanist, formalist, and postmodern versions of aesthetic theory. Three books on the nature of writing will be required. Grades will be based mostly on the quality o the creative writing submitted, but additional attention will be paid to class discussion and a short paper on the student’s own theory of art.
Faculty: Rush Rankin
Location: BH 102
Time: 7 - 9:50 p.m. MTWR
Studio Classes
PLEASE NOTE: Studios are only open for studio class time
Monday, June 2 – Thursday, July 3
Classes meet Monday - Friday
Ceramics Open Studio
CERME 362-01
The open studio format in ceramics allows students to pursue formal and aesthetic issues on their own terms. Throwing, mold making (both plaster and industrial rubbers), and hand building are some of the forming processes that students may examine. The dynamic of various finishing and firing processes – soda, raku, oxidation, and reduction – are available. The instructor encourages multi-disciplinary approaches by motivated students in this seminar environment.
Faculty: Tom Binger
Location: Richard Stern Ceramics Bldg
Time: 9 a.m. – 12:50 p.m.
Clay Fee: $135
Deep Time + Rapid Time: Clothing the Future
A Collaborative Project with Spurse
INDAE 357-40
This is a collaborative class with the international collaborative spurse to develop a component of their project Deep Time + Rapid Time at Grand Arts in early 2--9. Students will work with spurse to collaboratively develop a migrancy/refugee dwelling/clothing system. This system will become a key part of the project. Student will do research into issues of environmental change, philosophies of time, issues of refugee housing and clothing, product design, conceptual art, and the relation of continental philosophy and contemporary art. Student will then help design and produce prototypes for actual experimental testing in the high arctic. This is a unique opportunity for students to collaborate on an actual complex conceptual project while in school. Various field trips will be done to look at research, manufacturing and paleontological sites in the region. We hope and imagine that students will continue to collaborate after the end of the course.
Faculty: spurse members
Location: TBD
Time: 1 - 5 p.m.
Materials Fee: $100
Photo Lithography, Ink on Paper
PRINE 355-40
This class is designed to explore the accessibility of photography and printmaking through the photo-lithographic process. We will focus on technical and stylistic parameters designed to directly utilize photo-lithography’s unique signature and its best attributes. Students will explore the graphic transformation of work through various methodologies including photographic, computer/text based, as well as analog or hand worked imagery and other compatible technologies.
Traditional and alternative instruction and guidance will provide students a basis to find their own visual and conceptual focus linking creative development, needs and the learning process. At various points, the class will meet for individual and group critiques to facilitate and enhance such development.
Faculty: Doug Baker
Location: Printmaking Studio
Time: 1 - 4:50 p.m.
Materials Fee: $75
Relief Revival
PRINE 358
You will explore the many facets of the relief medium of printmaking. Course will cover an assortment of techniques, registration methods, presentation, contemporary and historical artists that use the relief medium, and discussion about the return of the relief medium in recent years to the contemporary scene.
Faculty: Jes Owings
Location: Printmaking Studio
Time: 9 a.m. - 12:50 p.m.
Materials Fee: $75
Session II
Liberal arts classes
Monday, July 7 – Wednesday, July 30
Classes meet Monday – Thursday
Topics in Ancient Art: The Greeks
ARTHI 3000-02
In this course, we will examine the culture of ancient Greece through its art and through its texts, in an attempt to fulfill the Greek ideals of polymathy (Heraclitus: “Those who would be wise must be good inquirers into many things”) and auto gnosis (Delphic oracle: “Know yourself”). One of our persistent themes will be the influence of tragedy and the abiding belief in moira (fate) on all the visual and verbal forms of self-expression employed by the Greeks.
Faculty: Michele Fricke
Locaiton: BH 103
Time: 1 - 3:50 p.m.
Topics in Modern Art: The Symbolists
ARTHI 3400-02
Arguably less an artistic movement than a state of mind, Symbolism appeared toward the middle of the nineteenth century and expired during the tumult of World War I. It was in France and Belgium, the birthplace of literary Symbolism, that Symbolist painting, sculpture, and printmaking arose. Similar to their literary counterparts, Symbolist artists eschewed the representation of actual appearances in favor of clothing an idea in perceptible form. They professed a sincere contempt for impressionism, realism, naturalism, and the scientific, and placed their faith in the dream. Their ultimate objective, influenced in part by Baudelaire’s theories of “correspondences,” was to attain harmony between all the different arts, and possibly realize a gesamkunstwerk or total work of art.
Symbolist art is crucial to our understanding of modern art, not only because it spread across the European continent and North America like wildfire, but also because it underlies many of the artistic movements that followed, such as Expressionism, Surrealism, and Abstraction. With significant attention given to its literary sources, this course will explore Symbolist art and theory in the Western world as well as its series of mutations without which modern art would not be what it is.
Faculty: Reed Anderson
Location: BH 103
Time: 4 - 6:50 p.m.
Topics in Art as History: Great Historical Films
HIST 3000-06
American and British films on historical subjects have, in many cases, become the public’s perception of history – they have, in effect, become history in the popular imagination. Some of these films are excellent, but the history is extremely flawed. Other films have used the medium of drama to create characters that encapsulate particularly historical moments and, while the characters are fictional, they are people we all know and understand. Others play on our emotions and attempt to lead us to particular political conclusions. This class will require a paper on one of the films shown in class.
Faculty: Hal Wert
Location: EB 217
Time: 9 - 11:50 a.m.
Topics in Neuroscience: Biological Bases of Behavior
SCIE 3300-01
Course description: This is an introductory level course on the biological bases of behavior, including anatomy and physiology of the brain. Topics of study will include organization of the nervous system, brain structures and their functions, neurotransmitters, the five senses, neurological and psychiatric disorders, attention and consciousness, memory, language, mood and emotional processes.
Faculty: Bambi Burgard
Location: BH 102
Time: 6 - 8:50 p.m.
Studio classes
PLEASE NOTE: Studios are only open for studio class time
Monday, July 7 – Wednesday, August 6
Classes meet Monday – Friday
The Performative Impulse in Contemporary Art Practice
PAITE 370-01
We will explore the nature of collaboration through exercises, short assignments and discussions that will lead to the creation of a performative artwork. Performance Artist Michael Thomas, Director of Chicago-based performance group “Lucky Pierre” and KCAI Assistant Professor of Painting Julie Farstad will lead workshops and discussions, facilitate collaborative projects with students as well as meet with students individually. Specific exercises will focus on: the discovery, development and deployment of source material; performative and process-oriented methods for presenting text and information; and the use of the body in performance. The class will conclude with collaboratively and individually generated performances. No previous performance experience is necessary. This course is open to juniors and seniors in all departments.
Faculty: Julie Farstad and Michael Thomas
Location: TBD
Time: 9 a.m. - 12:50 p.m.
Etching and Transformed States
PRINE 335-40
This class is designed to explore the etching process and printmaking’s sense of vision and revision. Students will explore etching’s graphic and technical issues through both historical and contemporary research of the medium. The class’s technical parameters and production issues will include editioning, series and sequence, multiples, analog or hand worked images, some photographic digital technologies, color prints and layers. We will work at developing technical and stylistic combinations that utilize transformation through various working methodologies trying to extend the range and possibilities available.
Faculty: Doug Baker
Location: Printmaking Studio
Time: 1 - 4:50 p.m.
Materials Fee: $85
Make Ready: Proof and the Print
PRINE 340-01
“Make ready - all the activities required to prepare a press for printing”
Layers of information, both literally and conceptually are cornerstones of print media. This course will incorporate traditional and digital silkscreen, relief, and monotyping techniques, the final results being multi-layered, multi-media works on paper. By working through several pieces at once, each decision regarding color, size, imagery, and content will affect and inform the next creative move as you direct each piece to a unique resolution,
Faculty: Jes Owings
Location: Printmaking Studio
Time: 9 a.m. - 12:50 p.m.
Materials Fee: $75
Summer 2008 Policies
Degree program classes are offered as part of our regular academic curriculum. KCAI degree program students may enroll for no more than six (6) credit hours per session.
Enrollment for KCAI degree program students is done through web registration.
Visiting students from other institutions, and Kansas City community members, are welcome to take these courses and may register through the Continuing Education office.
Registration is either by phone using a credit card (Visa, Master Card, Discover or American Express), call (816) 802-3505 or visit our office in the Vanderslice Building to register in person. Registrations will begin no earlier than April 7. Students desirous of transferring credits earned at KCAI to other institutions should consult with their academic advisors at those institutions for transfer approval.
Tuition is $345 per credit hour. Students registering for studio classes are required to pay studio fees of $34 per credit hour, as well as any additional materials fee for their specific studio. Check with the financial aid office regarding financing your summer session classes.
Tuition and fees for Session 1 courses are due in full in the business office by Friday, May 16.
Tuition and fees for Session II courses are due in full by Monday, June 23.
Your registration will be cancelled the day after this payment deadline if payment has not been received.
Computer access will be provided in the Jannes Computer Lab. Check the door for posted hours.
Refund Schedule: KCAI has adopted the following withdrawal policy to establish charges based on the amount of time completed in the enrollment period. All students who withdraw from KCAI during the summer sessions will be charged a $35 administrative fee per course. Studio and materials fees are not refunded.
Liberal Arts Refund Policy (16 class meetings):
On or before first day of class 100% refund
1st - 2rd day of class 90% refund
3rd - 4th day of class 50%
5th - 8th day of class 25%
After 8th day of class no refund
Studio Refund Policy (25 class meetings):
On or before first day of class 100% refund
1st-3rd day of class 90% refund
4th-6th day of class 50%
7th-12th day of class 25%
After 12th day of class no refund.
If a class is cancelled due to low enrollment 100% will automatically be refunded within four weeks.
Drop/Add classes
Session I: Last day to drop/add classes - June 3
Last day to withdraw from class – June 18
Session II: Last day to drop/add classes - July 8
Last day to withdraw from class – July 24
Spurse Selected as KCAI’s Summer 2008 Visiting Instructors
This summer’s visiting instructors are spurse members who are teaching a course entitled “Deep Time + Rapid Time: Clothing the Future.” This class is designed for KCAI students and members of the public who are interested in collaborating with spurse to develop a component of their project which will be exhibited at Grand Arts in early 2009.
Spurse is an open-ended group of individuals that work together as a type of consultation service towards the development of new forms of knowledge and engagement. They have been working this way for the last ten years in various locations and situations internationally. Each has a different set of skills which are seen as composing an open tool kit that allows them to be engaged participants in the unfolding of the world; to act towards the development of new modes of doing, acting, thinking and building with others. For more information on spurse visit their website www.spurse.org.
Look in Session I under studio classes for details on the KCAI summer class.