cleveland institute of art
6 introduction 14 majors + programs 16 24 32 40 48 56 64 72 80 88
Foundation Liberal Arts Animation Biomedical Art Ceramics Communication Design (Graphic Design) Drawing Enamel Fiber + Material Studies Game Design
96 Glass 104 Illustration 112 Industrial Design 120 Interior Design 128 Jewelry + Metals 136 Painting 144 Photography 152 Printmaking 160 Sculpture 168 T.I.M.E.â€“Digital Arts 176 Video
186 our faculty 208 cia alumni 222 campus map 224 student life 232 get started 232 Apply 234 Your Portfolio 236 Financing Your Education 238 Resources for Tuition Support 240 Academic Services 242 Next Steps
It’s all about your future and your art. You’re making decisions that will take you on a true adventure; one that can lead you to a spectacular creative career. Getting there requires a community—a creative community that is dedicated to turning your artistic vision and thirst for creative expression into reality. At the Cleveland Institute of Art we have a 129-year track record for doing just that.
The Mission of the Cleveland Institute of Art : To nurture the intellectual, artistic, and professional development of students and community members through rigorous visual arts and design education.
CIA Whatever your interest, weâ€™ve got your major. With 19 majors that encompass design, visual arts, craft, and integrated media, weâ€™ve built a hub of creative energy that can take you daily into the studios and classrooms where you will learn, create, change, and lead an artistic life.
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We are dedicated to teaching artists and designers. Our resources are chosen for your successâ€”inside and outside the classroom. We bring in visiting artists who influence you, offer tools that inspire innovation, and structure our environments for your creative exploration.
9:1 Ratio Our 9:1 student-to-faculty ratio guarantees maximum time with CIA’s extraordinary faculty. Small class sizes allow for instruction around a table or in studio, not in a large lecture hall.
Focus on Art + Design CIA is a specialized school of art and design, so from your first day of classes as a freshman until your final senior BFA project, you’ll take classes in art, design, or craft. You’ll enter your major in your sophomore year and benefit from our commitment to cross-disciplinary education—if you choose to explore media or work with artists outside your major, you can. Learn more about our curriculum on page 14.
Exceptional Faculty As practicing artists and designers, CIA faculty understand the challenges and rewards of a career in art and design and pass that experience on to you. They are lifelong learners who push the boundaries of their art. Their work is in the permanent collections of the world’s finest museums and their designs are used in products today or are a part of public spaces around the country. Read more about our faculty on pages 186-207.
Your Career Whether your dream is to be a studio artist, product designer, or game designer, we’re confident you’ll achieve your goals—and we have the track record to prove it. Nearly 90% of our 2010 graduates are working in an art or design field or are enrolled in a graduate program. Turn to page 208 to see the professional work of CIA alumni.
Your Own Studio In your sophomore year you’ll get your own studio space. Turn the page and see what we mean.
A studio of your own Once you declare your major at the end of your freshman year, you will be given your own studio space to use through graduation. It’s where you’ll explore and grow outside the classroom and is located near the resources you’ll need to complete assignments, develop projects, and create your final BFA exhibition.
majors + programs The best education is collaborative, innovative, and imaginative—and is right here at CIA. Our curriculum is based on a depth of learning in each major, combined with breadth of knowledge in as many areas as we offer.
All first-year students begin with the Foundation curriculum, a yearlong intensive exploration of color, form, design, and creative problem solving. You’ll emerge from the first year on technically equal footing; ready to concentrate on the study and practice of art and design. Liberal Arts classes weave throughout your four-year curriculum, teaching you essential communications skills and a solid grounding in art history. In your freshman year you’ll also take an Environmental Elective—a course that gives you an opportunity to learn about multiple majors within a shared area of study known as an Environment (learn more about CIA’s Environments on the next page). As your sophomore year begins, you will start taking classes in your major—often chosen as a result of your freshman environmental elective experience. In your senior year, you will work on a unique capstone experience—your BFA Exhibition. Not many art and design colleges require this intensive experience, but we believe it is the most important moment in your professional launch. BFAs take many forms, but are ultimately your gallery exhibit or design pitch. As a BFA candidate you’ll create a body of work, present it to the CIA community, and respond to their critique. As part of this yearlong project, you’ll also develop an artist statement that explains and frames your vision. You’ll present as a professional and are critiqued as a professional—with the focus on helping refine an artistic path before you graduate.
CIA Environments: Creative Design to Creative Education One important thought to keep in mind as you read through our majors: they are strategically grouped around four core subject areas we call Environments. The Environment structure is a unique approach to teaching across majors— a built-in system of shared resources that offers a true interdisciplinary approach to art and design education. Majors that are housed under one Environment complement each other, offering an opportunity to share resources and courses. In addition, your exposure to each discipline in an Environment will challenge you to think outside your chosen major to ultimately enhance your understanding of that major.
Our Environments are:
Visual Arts + Technologies Drawing, Fiber + Material Studies, Painting, Printmaking, Sculpture Design Communication Design (Graphic Design), Industrial Design, Interior Design Craft + Material Culture Ceramics, Enamel, Glass, Jewelry + Metals
Integrated Media Animation, Biomedical Art, Game Design, Illustration, Photography, T.I.M.E.–Digital Arts, Video
Master of Arts in Art Education CIA’s 4+1 Program If you’re interested in taking your art and design talents into a classroom of your own as a K–12 art educator, our academic partnership with our campus neighbor, Case Western Reserve University, can help you do that. The CIA/CWRU collaborative program offers the required coursework that leads to a master’s degree and licensure in art education. Once you earn your BFA from CIA, you can apply to CWRU to become a licensed visual arts teacher with only one additional year of study. In this extra year you will have access to the resources of a comprehensive university as you develop essential leadership and teaching skills. Through this program, many CIA students have gone on to become committed, knowledgeable, and creative professionals in art education.
Accreditation + Membership The Cleveland Institute of Art is accredited by the National Association of Schools of Art and Design (NASAD), the North Central Association of Colleges and Schools, and the State of Ohio, and is a member of the Association of Independent Colleges of Art and Design (AICAD). 15
Foundation CIA’s Foundation program will introduce you to the forms, methods, media, and concepts crucial to your future academic and professional success. All first-year students take a full year of Foundation courses where they develop and strengthen the fundamentals that support each year of study throughout the Institute’s curriculum.
Be prepared for lively debates and the camaraderie that develops as you and your peers work together in studio. The Foundation experience fosters a learning environment that is responsive to your aspirations, as well as to innovations in the world of art and design. We balance fundamental approaches with experimentation to develop your aesthetic sensibilities. You’ll begin with core courses in drawing, design, color, and digital studies that introduce you to color, composition, drawing principles, and 2D and 3D materials and processes. Digital courses and fabrication safety labs build confidence in your abilities to create. As you work on studio projects you’ll investigate visual dynamics, creative processes, and issues that inform contemporary art, design, and culture.
We take full advantage of our amazing location in the heart of Cleveland’s cultural district. Our classes regularly travel across the street to the permanent collections of the Cleveland Museum of Art, through the rainforest of the Cleveland Botanical Garden, or into the exhibits of the Cleveland Museum of Natural History. With Case Western Reserve University and University Hospitals located a quick walk across Euclid Avenue, we are able to tap into some of the science and healthcare resources that boost our curriculum. To help guide the transition from Foundation studies into the majors, you’ll also have the opportunity to take an elective class in order to explore various disciplines in the arts, crafts, design, and media areas. The elective provides exposure to help you make an informed choice about your major and your future career path.
Digital Synthesis Drawing I & II • Design I & II • 3D Design • Design Woodshop Lab • Material Color + Digital Color • Collaboration and Community Charrette* • Self and Other Voices Charrette* •
*Charrettes engage student groups in projects where they explore topics and collaboratively build strategies and solutions.
Freshman Environmental Electives: Craft + Material Culture • Integrated Media • Visual Arts + Technologies • Design •
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Liberal Arts The Liberal Arts Environment cultivates the intellectual development of our students as they move through each of our degree programs.
Our Liberal Arts curriculum is designed to develop your understanding of many cultures of our world— both past and present—and discover the importance of these ideas to the growth of your creative life. Your four years at CIA include study in the humanities and sciences. You’ll graduate with a breadth of knowledge that is the hallmark of the baccalaureate degree as you take courses in disciplines from art history to philosophy to anthropology. A singular feature of the Institute’s Liberal Arts curriculum is our approach to studying a subject by connecting it to other disciplines in our program. For example, in your freshman year at CIA, you will read in your English classes about ancient and medieval philosophy and culture while also taking a course in Ancient and Medieval History of Art. This carefully calibrated educational experience creates a comprehensive perspective on a subject that will give you a broad sense of the trajectory of world history itself.
CIA puts creativity at its center, so our Liberal Arts curriculum centers on the idea of culture as a generator of creative ideas. Our students are makers within their cultures, and we have built our own Liberal Arts curriculum around the creative core of their learning. The reading and writing that we assign is crucial to the development of your own artistic ideas. In addition, you will complete rigorous assignments requiring writing and research across your degree curriculum, and these will enable you to convey strongly a point of view informed by the world’s diverse commnunities.
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Foundation Requirements: Composition: Ideas in Cultural History esearch Methods and the Research Paper: R Ideas in Contemporary Culture Topics in Design or Forms of Narration Advanced Writing-Intensive Electives rt History: Ancient–18th Century: A Concepts, Themes, and Methods ritical Issues in Art and Design History: C 18th Century–1945 C ritical Issues in Art and Design History: 1945–Present Post–1960s Art and Design Electives
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Distributional Requirements: I ntro to African and African-American Literature and Culture Intro to Narrative Film omen’s Words: Studies in the Literature W Written by Women Avant Garde Film Avant Garde Film: Montaged “Talkies” Japanese Expressions ulture/Conflict/Syncretism in African and C African-American Literature Neo-Expressionism, Neo-Geo, and Postmodernism American Vernacular Architecture Advertising Images istory of Photography H Folk Art, Minority Art, and Outsider Art The Art of Mesoamerica Demystifying the Maya Peru Before Pizzaro Traditional Tribal Art T he Body: Tradition, Transformation, Transgression ontemporary African and African-American C Literature Design and Craft in Modern Culture Ways of Thought: Hinduism and Buddhism Ways of Thought: Confucianism, Taoism, and Zen arrative Art and Mythic Patterns in African and N African-American Literature Anthropology Tribe vs. Nation: Political and Cultural Survival India: Culture and Society Human Antiquity Media Arts and Visual Culture: Installation Media Arts and Visual Culture: Interactive Zones Literature of the Americas
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Creative Writing Workshop: Dialogue and Story Fiction Writing Creativity and Taoism Art Writing Film History and Theory: Documentary Visual Culture and the Manufacture of Meaning Basic Theories of Psychology urvey of Contemporary Music and Its Relation S to the Visual Arts Sound Art and New Media Issues in Design: Theory and Culture of Design Screenwriting Contemporary Art: Critical Directions Visual Anthropology: Ethnographic Film Survey Poetry Writing African American Art Modernism in Latin American Art n the Same Page: Rhetoric, Design, O and Writing in the Digital Age Race and Representation Graphic Narratives Abnormal Psychology p Against the Wall: Writing the Revolution U in the American ’60s Science Fiction Writing Workshop Exhibition Theory and the Culture of Display Contemporary Art: Andy Warhol Art of China egends and Kings: Structures and Uses L of the Narrative John Cage: His Life, Work, and Influence Art Since Abstract Expressionism uilding Models: Artist, Art (and History) B in the Framework of Theory and Criticism Naratology and Storytelling Arts of East Asia Writing Workshop: Personal Essay Jazz: Contemporary African-American Writers Critical Models Who Owns Art? Issues of Asian Art Collecting The History of Art History and Its Philosophy Chinese Poetry Jung and Creativity Censorship, Art, and the Law Sexuality and Popular Culture in America onceptual Art: History, Theory, and C Contemporary Practices
Whether you choose to pursue a graduate degree or work within your major, having one of these endorsements on your transcript illustrates your extensive training in writing analytically about art and design, or writing creatively about your own ideas.
Visual Culture Emphasis This course of study will provide you with the skills to articulate your understanding of theory and history of visual culture and incorporate those perceptions into your own studio work. In the Visual Culture Emphasis you’ll study 18 credits of designated Liberal Arts classes in addition to the Foundation Liberal Arts requirements. You’ll become a stronger writer and communicator as your studies help you reflect on how art and design are informed by concept, theory, and history. Areas of study include new media and film; non-Western and folk art; contemporary issues in art and design; art criticism; popular and mass culture; philosophy and aesthetics; and critical theory and methods of analysis.
Creative Writing Concentration If you are an artist or designer who also has been writing stories, graphic novels, and poems, our Creative Writing Concentration can keep you on track to grow as a creative writer—while you become a stronger visual communicator. Or if you plan a career in illustration, graphic fiction, game design, or film, and need the career advantage of excellent writing skills, this Concentration allows you to work on your writing while you pursue your studio degree. The Creative Writing Concentration is comprised of 12 total credit hours (4 courses), taken in the Liberal Arts Environment. As a final requirement of the Concentration you’ll create a body of written work.
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2D/3D Compositing 3D Modeling • Introduction to 3D Animation • Introduction to Animation • Introduction to Media Production and Integration • Narrative Production I & II • Narrative, Image, and Sequence • Screenwriting • Sound Design • Digital Texture and Lighting • Video I • Visual Organization and Media • Web Practice and Presence • 3D Character Animation • BFA Preparation • BFA Thesis and Exhibition •
Freshman Environmental Elective • Integrated Media
Commercial animator Fine artist/animator • Independent animator • Texture artist/texture painter • Educational animation • Graduate study/higher-level professional training • Rigger • Character designer • Layout artist • Animator • Character animator • Effects (FX) artist/FX animator • Compositor • Production designer • Visual effects supervisor • Animation director • Art director • Storyboard artist • Modeling supervisor •
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Animation Animation is a medium that breathes life into concept through movement. As an Animation student you’ll discover how the dialogue of an otherwise stagnant image or object changes and evolves when put to motion.
Our faculty will keep you on the cutting edge as you work with innovative production technologies in 2D and 3D digital media and animation, film, video production, and stop-motion animation. You’ll intensify your skills in character and set construction through a broad scope of tactile sculpture media. CIA’s Animation curriculum focuses on sequential narrative storytelling, conceptual development, methods of animation (2D, 3D, hand-drawn, stop motion, composite), framing and staging, storyboarding, animatics, layers, and motion and figure studies. You’ll learn to put personality into movement through concentrated study of the mechanics of human and animal motion. Life drawing and acting help develop original characters in design, movement, and personality. Projects in this major develop a better understand of the impact on motion and sync of timing, spacing, exaggeration, secondary action, weight, volume, lighting for specific physical or digital environments, and sound.
You’ll work with resources that include all major animation, video, editing, and compositing programs standard for industry, along with traditional animation drafting light tables, a video pencil test system, stop-motion Lunchbox capture system, greenscreen chroma-key studio area, two separate lighting and shooting spaces, and a sound recording studio. Career success in Animation is also built on developing real-world experience and strengthening your communications skills. Each year you’ll have several opportunities to show your work—to the CIA community and to industry and fine arts professionals. In the fall we hold our E.M.I.T. Film, Video and Animation Festival, which features students’ films, videos, and animations; in the winter students enter the juried Student Independent Exhibition held in the school’s Reinberger Galleries; and all students exhibit during our annual Spring Show. In addition, we strongly emphasize presentation and public speaking skills that prepare you for pitching your ideas and directing a team.
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Biomedical Art Biomedical Art majors combine artistic talent, natural science, and biomedical intellect with strong visual communication skills. As a biomedical artist you will apply your knowledge of media art and science to visual materials that educate those interested in science and medical information. Built on the traditional field of scientific and medical illustration, CIA’s Biomedical Art curriculum also establishes skills in leading-edge digital media techniques, interactivity, and animation. Our program incorporates innovative concepts and media through the intersection of art, science, and medicine. You’ll learn a versatile set of illustration, information design, 3D modeling, and animation techniques through both traditional and digital methods. We’ve designed a curriculum that offers you the flexibility to take courses in computer imaging and animation, instructional design and multimedia, medical sculpture, surgical and natural science, and editorial illustration. And to add a layer of polish, you’ll develop applied skills in business and professional practices.
You’ll learn from outstanding faculty whose training and access to real-world experiences are unmatched. Each of CIA’s Biomedical Art faculty are CMI certified—which means you’re learning from highly-trained professors who are accredited as Certified Medical Illustrators. Faculty have also taken advantage of our extraordinary location at the heart of the region’s leading medical, scientific, and cultural communities to build professional partnerships with the area’s major medical and educational resources, including Case Western Reserve University, University Hospitals Case Medical Center, and the Cleveland Clinic, as well as the Cleveland Museum of Natural History and Cleveland Botanical Garden. As a student in the Biomedical Art program you will benefit from these partnerships through many real-world experiences that include projects in medical illustration and exhibition opportunities. As a Biomedical Art student at CIA you will have your own studio space in addition to cuttingedge digital technologies and high-end computer resources. The program offers you access to motion capture technology, 3D modeling tools, a medical sculpture lab, and a suite of other labs with access to the newest software and tools.
As one of the few undergraduate programs of its kind in the country, CIA’s Biomedical Art program is a unique area of study in a growing field of applied art, science, and technology.
Visual Organization and Media Narrative, Image, and Sequence • Web Presence and Practice • Anatomy for the Artist • Natural Science and Zoological Illustration • Human Forms: Heads, Hands, and Feet • Line: Information Visualization • Digital Color: Style and Representation in Science • Introduction to 3D Modeling • Veterinary Illustration • Interactive Narratives • Digital Texture, Lighting, and Rendering • Forensic Modeling and Reconstruction • 2D/3D Compositing for Special Effects • Bioart Ethic and Image Interaction • Macro to Micro Simulation and Story • Surgical Illustration and Media • General Biology • Comparative Vertebrate Anatomy • Anatomy and Physiology I & II • Microbiology • Embryology • Histology • Micro Narratives • Human Biologye • Introduction to Digital Biomedical Illustration • Introduction to 3D Animation • Advanced Problems, Concepts and Media • BFA Preparation • BFA Thesis and Exhibition •
Careers: raduates in Biomedical Art work within many G broad areas of natural science and medical industries, educational design, 2D and 3D instructional animations and video, medical and scientific textbooks, biomedical advertisements, serious/educational gaming, professional journals, educational CD-ROMs, DVDs, web media, and films. Biomedical artists also work within the following career areas: pharmaceutical, medical device, veterinary markets, hospitals, universities, government agencies, medical legal, and forensics, to name but a few.
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Ceramics At CIA we build on the age-old medium of ceramic art by teaching both the science and the art of its two major traditions: works of sculpture and works of utility. We expose students to the rich history of the medium while exploring clay’s contemporary potential as a vehicle for the expression of ideas.
As a student in CIA’s Ceramics major you will create in nearly every aspect of ceramic work. Your coursework will include handbuilding and work on the pottery wheel, glaze making, glazing techniques, and loading and firing gas and electric kilns. Explore ceramic materials in two and three dimensions through the use of mold work and multiples in sculpture, studio pottery, and ceramic design. Expand your creativity as you develop fabrication techniques including press molding, drain casting, solid casting, casting body formulation, slip preparation and use, glazing, and surfacing. Our Ceramics faculty run an interactive open studio environment that encourages collaboration and communication between students, peers, and instructors. You’ll share responsibilities for firing, glaze making, and studio upkeep. Once you join us, you’ll also participate in group reviews and learn of exhibition opportunities and how to collaborate with your fellow students.
Core Studio courses in this major present you with an opportunity to work closely with faculty in Glass, Jewelry + Metals, and Enamel. These crossdisciplinary courses offer an environment of diverse skill building, experimentation, and discovery. You’ll work in a completely renovated, sky-lit ceramics studio space with floor-to-ceiling windows, well-lit individual studio spaces, large common workspaces, and glazing areas. We are one of the few Ceramics departments in the U.S. to have a digitally controlled gas kiln by Blaauw—fully automated and capable of any firing cycle, oxidation, or reduction. There are specialized spaces for clay making, glaze making and testing, plaster working, and a large kiln room complete with three large gas kilns, eight electric kilns, and a raku kiln. Students fire work from six inches to five feet in height.
Creative Process and Materials Studies Language and Materials • Craft + Material Culture Core Studios • Image, Pattern, and Surface in Clay • The Potter’s Wheel • I ntro to 3D Plastic Media • M ajor Day: Special Projects • A dvanced Handbuilding • T he Alchemy of Fire and Clay • S culpture in Clay • T he Narrative Vessel: Basic Ceramic Fabrication • M ajolica, The Painted Pot • Raw Materials • A rchitecture-Based Ceramics and Special Projects • Nature and Structure • T able for Two: The Evolving Rituals of Food, Utility, and Community • T he Vessel and Utility • S urface and Content • BFA Preparation • BFA Thesis and Exhibition • •
Freshman Environmental Elective • Craft + Material Culture
Careers: Our Ceramics alumni go on to successful careers as studio artists or designers, exhibiting in national and international galleries and museums. Some graduates become art consultants and conservators while others go on to graduate school and into teaching.
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Communication Design Communication Design at CIA takes into account the dramatic changes transforming the graphic design industry and the importance of clear visual communication. As our methods of communication become increasingly mobile, we rely even more on the art of design to communicate in creative and engaging ways.
Design for Communication I & II Typography I & II • Intro Photography • Photo Digital Imaging I • Advanced Design Studio I & II • Production • Graphics for Design • Web Design: Graphic User Interface I & II • Information Architecture • The Hand Made Book • Advertising Art Direction • Contemporary Design Studio • Publication Design • Limited Edition Portfolio Production • Visualizing Information • CIA Design Factory • BFA Preparation • BFA Thesis and Exhibition
Our program’s high placement rate is evidence that our graduates are in high demand. Communication designers now lead teams investigating journalism, building identity and branding, and organizing complex information systems. Communication Design graduates from CIA work in all aspects of the industry including:
Freshman Environmental Elective Design
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Book and publication design Advertising Web and interactive design Package and 3D design Exhibition design Film and broadcasting design
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In CIA’s Communication Design major you’ll explore both the innovative and traditional methods of communication design including typography, print and web design, package design, and signage. We’ll introduce you to the forms, methods, media, and concepts crucial to creative development, self-expression, and effective visual communication and production. While we rely on the latest technology to build technical skills, our curriculum offers you the opportunity to explore and grow beyond these technologies. Your study will range from editorial and publication design, to the study of event and exhibition design, design for print, marketing and advertising, production and interactive, and motion graphics. And you’ll execute your designs using traditional media as well as contemporary and experimental media. As you move through the curriculum you will also build valuable communication skills and develop techniques for presenting your ideas and final projects.
Our faculty of practicing designers have created a working environment at CIA that resembles a professional communication design studio. Our new studio includes wireless Internet access, wireless printing, and a full construction area. We have led a successful pilot laptop program and negotiated discount prices for Adobe software and professional-grade Macintosh laptops. As a student in the Communication Design program you’ll have complete access to a computer lab, print output center, presentation areas, woodshop, and the metal shop. And as part of the Design Environment, you’ll have opportunities to work across the Environment’s disciplines and collaborate with our Industrial Design and Interior Design students on projects and in the classroom.
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Drawing Drawing today is one of the most creative and dynamic majors available in the field of art. It encompasses a wide range of forms and approaches including working on paper in various mediums, installation, collage, zines, and graphic novels.
As a student in CIA’s Drawing major, you’ll use traditional and nontraditional materials as well as unconventional tools to define your aesthetic identity, as well as challenge your artistic vision and resourcefulness. The Drawing curriculum contains several phases and begins with the investigation of the field and its historical framework. You’ll be introduced to individual studio practice—forming a research process and the development of source material. You’ll master a visual vocabulary that includes scale, proportion, perspective, composition, line, mass, and modeling while exploring traditional and nontraditional tools, materials, and techniques. Then we’ll begin to focus on communication through drawing, which includes drawing from observation, ideation, and experimental processes. Next you’ll focus on style and aesthetics and parallel theories to your own body of work. And you’ll begin to understand drawing in the cultural frameworks of pop and common and high culture. In your final thesis project you’ll work through a comprehensive design and art process: interest (ideas) research, ideation, experimentation, evaluation, reflection and refinement, and production.
As part of the Visual Arts + Technologies Environment, Drawing students share in an integrated curriculum that will give you a broad knowledge in the visual arts while strengthening your in-depth conceptual knowledge of the drawing discipline. Your coursework and studio practice will be enriched as you pursue collaborations and shared coursework in the other disciplines that make up the VAT Environment: Printmaking, Painting, Fiber + Material Studies, and Sculpture. You’ll receive a wide range of support beginning with a faculty of professionals with diverse approaches to art-making. In our professional practices program you’ll develop small business knowledge that will empower you to set up your professional studio. You’ll be tutored in creating your professional portfolio and developing grantwriting skills. And you’ll learn about the appropriate communications skills and proper etiquette necessary for successfully approaching dealers, curators, and collectors. In addition, you’ll have access to the VAT Environment artist-in-residence, who is an artist working at the top of his or her field. This artist teaches regular courses in the Environment as well as working individually with students. The Drawing department also invites visiting artists to give lectures and meet with students one on one.
Image and Form Reproducibility • Aesthetics, Style, and Content • Artist as Producer • Art in the Global Context • Intro to Advanced Observation, Illusionism, and Conceptualization • Drawing Beyond Observation • Major Day: Process and Method • Major Day: Style Context • Drawing as Image, Process, and Plan • Figure Drawing • Experiments in Drawing • D rawing Images: Series, Episodes, and Time • 3D Drawing: The Psychology of Space • H ybrid Approaches to Drawing and Painting: Digital Media • Moving the Line: The Artist as Animator • Independent Research Project • BFA Preparation • BFA Thesis and Exhibition • •
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In the spring you have an opportunity to travel to New York during an annual trip, sponsored by the VAT Environment, where you’ll experience firsthand professional galleries and exhibitions such as the Whitney Biennial and the Armory Show. Drawing students have generous individual studio spaces, a well-equipped workshop, and excellent critique space, all within the sky-lit, factory loft space of the Joseph McCullough Center for the Visual Arts. The Drawing curriculum culminates with a BFA exhibition that consists not only of presenting a body of self-initiated work, but also an oral defense and a written artist statement. The BFA degree will prepare you for a career in the visual arts as a professional artist. While many of our graduates go on to earn their MFA degrees at pre-eminent graduate programs to deepen their knowledge of their own practice or become curator, critic, and art administrator, or art teacher on the K-12 or college level, others follow entrepreneurial paths pursuing successful careers as illustrators, designers, creative directors, graphic novelists, zine authors, set designers, etc.
Freshman Environmental Elective: • Visual Arts + Technologies
Careers: CIA’s Drawing major prepares students for a career as a professional working artist. Our graduates have gone on to work as: • • • • • •
Illustrators Studio artists Graphic novelists Zine authors Educators Gallerists
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Creative Process and Materials Studies Language and Materials • Craft + Material Culture Core Studios • Image, Surface, Relief • Advanced Projects • Major Day: Advanced Topics • 3D Forms in Enamel • The Printed Image in Enamel • Multiples in Enamel: Limited Edition, Production, and Series • Enamel in the Public Realm • BFA Preparation • BFA Thesis and Exhibition •
Freshman Environmental Elective: • Craft + Material Culture
Careers: As an Enamel major you’ll receive guidance in discovering a career and in learning the basics of working as a self-supporting artist or craftsperson. While some of our graduates work in private studios making exhibition pieces, producing commissioned work, and creating work for gallery and retail outlets, others have gone on to graduate school, teaching paths, and careers in the design industry.
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Enamel The Institute’s focus on enamel is unique among the nation’s art schools—in the history of twentieth-century enameling, Cleveland has emerged as a center in the development of the art form. Noted enamellists from Cleveland have led the field, developing technology and publishing numerous books advancing the discipline. As a result, Enamel majors at the Cleveland Institute of Art enjoy strong support from both the industry and patrons devoted to the medium.
Our Enamel curriculum introduces you to a set of highly technical skills used for centuries and contemporary techniques of direct painting and drawing of glass onto metal. We encourage our students to experiment with the medium. As a result, the Institute’s Enamel students are known as innovators who create using diverse methods, styles, and inspirations. The enamel studio is equipped to support traditional and contemporary techniques and to promote your exploration and experimentation. In addition to offering generous studio space to students who major in Enamel, our department provides the fullest range of equipment for the pursuit of work in any direction within the field. You’ll also have access to industrial-scale facilities and materials.
Core Studio courses in this major present you with an opportunity to work closely with faculty in Glass, Jewelry + Metals, and Ceramics. These cross-disciplinary courses offer an environment of diverse skill building, experimentation, and discovery. The scale of student work in any year may range from minute to architectural. Both two and three dimensions are explored and work may be functional and decorative or conceptual and content driven. Your fellow Enamel majors will include artists interested in making jewelry and objects as well as those interested in discovering enamel’s potential in other art forms. Through continual experience and exposure to the material, you’ll gain confidence to make innovative advances in technique and personal expression.
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Image and Form
• Reproducibility • •
Aesthetics, Style, and Content Artist as Producer
Art in the Global Context Extended Body: Costume, Prosthetics, and Extensions • Intro Fiber: String, Felt, Thread, and Ideas • Silkscreen • Weaving Patterns: Collective Activity • Fabrication and Material Studies: Pattern and Structure • Fashion: Soft Architecture for the Body • Fiber Seminar: Topics in Contemporary Art/Culture • Material Matters • Creative Resistance: Performance and Media Installation • Installation: The Empire of the Senses • Performance Art: Intervention and Spectacle • The Artist and Social Practice • Independent Research Project • BFA Preparation • BFA Thesis and Exhibition • The
Freshman Environmental Elective: Arts + Technologies
Careers: Graduates from Fiber + Material Studies become leaders in a diverse range of careers. They become textile designers for printed, woven, and knit textiles; toy designers; costume and set designers; accessory and boutique clothing designers; art therapists; teachers; gallery owners. They work in museums as curators and in textile conservation. Graduates also continue their education and earn MFAs in a diverse range of fields: fiber, sculpture, landscape design, museum studies and curatorial practices, and social practice.
CIA’s Fiber + Material Studies major is consistently at the forefront of innovation, challenging expectations and moving beyond the ordinary. In this major you’ll explore materiality through work that ranges from performance and installation to object-based work.
Fiber + Material Studies Artists working in Fiber + Material Studies often challenge the long-standing hierarchies of art, notably: the presumption that sight is the primary road to knowledge; that concept and function are mutually exclusive; that work of the hand is of lesser significance and import than work done with the mind. Our Fiber + Material Studies curriculum focuses on core techniques, concepts, and processes: stitching, dyeing, felt making, weaving, silk screen, sewing, pattern making, and computer-aided design. Each year one or two projects or courses are structured to intersect and collaborate with classes offered in the Industrial Design and T.I.M.E.–Digital Arts majors. As part of the Visual Arts + Technologies (VAT) Environment at CIA, Fiber + Material Studies students share in an integrated curriculum that will give you a broad knowledge of the visual arts while strengthening your in-depth conceptual knowledge of Fiber + Material Studies. Your coursework and studio practice will be enriched as you pursue collaborations and shared coursework in the other disciplines that make up the VAT Environment: Printmaking, Painting, Drawing, and Sculpture. In addition, you’ll have access to the VAT Environment artist-in-residence, who is an artist working at the top of his or her field. This artist teaches regular courses in the Environment as well as working individually with students.
As a student in this major you’ll produce diverse work. You will make work for exhibition, but you are just as likely to participate in new situations and conditions: community arts projects, theatrical productions, design for special needs children, installation, video, and performance. Our physical environment is designed to encourage experimentation and creativity. Studios and classrooms provide a mix of communal and personal working space that fosters lively exchange among students with diverse interests and techniques. All students are given a studio space of their own, which makes it possible to view and talk about the work at all stages of completion. Our studios are our pride, housing a range of equipment essential to work in the field. We boast multi-harness and computer-aided looms, large padded print/work tables, a silk screen exposure unit with a six-foot bed, a registration system for repeat printing, computer-aided embroidery machines, domestic and industrial sewing machines, and tailor’s mannequins. The dye studio has heated sinks and heavy-duty gas burners that can process large vats of dye. The vented weigh cabinet is designed for safe handling of chemicals and dye powders.
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Game Design In CIA’s Game Design major you’ll develop incredible game experiences and build the foundation for a career in game design and art- and media-related industries.
2D/3D Compositing or Digital Texture Lighting or Game Design: Special Topics • Digital Art and Design I & II • 3D Modeling • Game Media Production I, II, III, & IV • Introduction to 3D Animation • Introduction to Animation • Introduction to Game Design • Introduction to Media Production and Integration • Level Design • Lighting • Introduction to Game Programming • Narrative, Image, and Sequence • Screenwriting • Sound Design • Video I • Visual Organization and Media • BFA Preparation •
BFA Thesis and Exhibition
Freshman Environmental Elective: • I ntegrated Media
Commercial game designer Fine artist game designer • Independent game designer (freelance) • Graduate study • Higher level professional training •
You’ll also be prepared to work in positions which include: • Modeler, programmer, game designer, and game writer • Audio production, rigger • Character designer • Layout artists • Animator, character animator, effects (FX) artist/FX animator • Production designer • Visual effects (VFX) supervisor • Art director, concept artist, character designer, environments designer •
Our students work with innovative production processes including 3D modeling, animation, programming, visual design, audio, interactive storytelling, and game production, as well as theory, criticism, and context of video game culture and digital media. While creating interesting and usable content, you’ll build character development skills through coursework that analyzes and synthesizes physical, cognitive, cultural, and political aspects of human interaction. Master the use of rule design, play mechanics, and social game interaction while you integrate visual, audio, tactile, and textual elements into a total game experience. Create linear media by applying post-production techniques. As a Game Design major at CIA you will be able to create 3D modeling digital visualizations that use processing, organic and inorganic modeling, construction of compound objects, 3D primitive construction and modeling, and resolution and tessellation of 3D objects and formats. Collaboration and team projects are a vital part of the studio experience at CIA. As part of our Integrated Media Environment, Game Design students join our community of digital arts students. You’ll take core required courses with students from other majors in the Environment and regularly exchange a variety of differing perspectives, various forms of communication, and awareness of multiple disciplines. These experiences build team skills needed for collaborative brainstorming, character design, narrative ideas, production, and presenting and critiquing project outcomes. In some of the team production courses in this major, you’ll learn more about programming by working with computer science students from Case Western Reserve University’s School of Engineering. We know that your major requires extensive technology use, so you’ll have access to more than just our state-of-the-art computer labs. With your ID card you can check out the latest equipment for digital video, lighting, and sound. You can work in a network-connected video-editing suite, a sound
editing and recording facility, and two shooting spaces with studio lighting capabilities—one studio has a green Chroma Key, a black screen, and a gray screen which provide support for professional studio production. Faculty who have proven success in digital media and game design will be your instructors and advisors who will also help connect you with their network of professionals in game design. Career success in Game Design is also built on developing real-world experience and strengthening communications skills. Each year you’ll have several opportunities to show your work—to the CIA community and to industry and fine arts professionals. In the fall we hold our E.M.I.T. Film, Video, and Animation Festival, which features students’ films, videos, and animations; in the winter students enter the juried Student Independent Exhibition held in the school’s Reinberger Galleries; and all students exhibit during our Spring Show. In addition, we strongly emphasize presentation skills such as writing, storyboarding, cinematic skills, motion, and directing, necessary for successful time-based work. You’ll also learn to do advanced research in general media effects, game-specific research, and player-focused research.
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Glass Glass has enjoyed an exciting history as a field of art and craft. Prior to the early 1960s, designers worked separate from the teams of craftsmen who would actually produce glass objects in factories. The 1960s saw development of the studio glass movement, in which individual artists and craftsmen bridged the gap from making one-of-a-kind sculpture to creating handmade functional glass objects, melding personal expression with the business of being a viable working artist.
Our aim is for each student to become a practitioner in the medium. Graduates often enter positions with other artists/craftsmen, schools and workshops, apprenticeships and internships, and are highly competitive when applying for graduate study. Students from our program have become leaders in the field as teachers in university programs, practicing designers, and of course, artists/craftsmen.
Creative Process and Materials Studies Language and Materials • Craft + Material Culture Core Studios • Glass Fundamentals • Introduction to Fusion Concepts • Casting/Fusing Kiln Work • Hot Sculpting • Concept, Theory, and Practice • Major Day • BFA Preparation • BFA Thesis and Exhibition •
Freshman Environmental Elective: + Material Culture
In the last half century, there has been exponential growth in private artist/owner-operated studios, community-access studios, and programs in universities—from virtually none to more than several thousand worldwide. As a student in the Glass department, your basic training will center around three processes: working hot glass (glass blowing and off hand, molten glass processes), working glass cold (cutting, fabricating, grinding, sandblasting, and polishing), and fusion processes (casting, slumping, and bending). In your introductory classes you’ll survey all basic methods. You’ll work with technique and concepts in your intermediate glass classes. As you move into higher-level courses, you’ll take on independent study and research that is individually tailored to your developing voice. In Core Studio courses you’ll work closely with faculty in Ceramics, Jewelry + Metals, and Enamel. These cross-disciplinary courses offer an environment of diverse skill building, experimentation, and discovery. Glass professors at CIA have devoted their lives to a study and practice of working with glass. While working in traditional methods of design and craftsmanship they also experiment with new forms of expression. This commitment to the art form has earned them national and international recognition as leading contributors to the medium. We have one of the best-equipped undergraduate glass studios in the country.
As a Glass major, you’ll have your own individual studio space in the department. Our studentrun facility promotes teamwork and teaches the responsibilities of everyday glass studio operation. The well-ventilated, three-station hot glass area features furnaces for melting both clear and colored glasses, benches and tools for working hot glass, and large annealing ovens. An adjacent area holds more computer-controlled ovens for casting, slumping, and special forming projects. The cold glass facility is equally well furnished with great lighting, diamond saws, lapping wheels, German and Czech engraving/cutting lathes, polishing lathes, and assorted hand tools for grinding and polishing. Lampworking also has a designated space to complement the other complex glass-working processes.
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Visual Organization and Media Narrative, Image, and Sequence • Web Presence and Practice • Fundamentals of Illustration • Layout Rendering Techniques • Principles of Illustration • Character Design and Development • Illustration for Publication • Professional Standards in Illustration • Graphic Novels and Sequential Art • Community Projects: Illustration and Production Workshop • BFA Preparation • Advanced Illustration: Studio Projects • Illustration Portfolio/Visual Essay • BFA Preparation • BFA Thesis and Exhibition •
Freshman Environmental Elective: Integrated Media
Careers: Our graduates typically find career success and professional fulfillment in book illustration, editorial and magazine illustration, game character design, character development, animation, advertising illustration, and graphic novels.
Illustration CIA’s Illustration major focuses on building your ability to translate thematic vocabulary into inventive visual solutions. You’ll learn how to envision thoughts, conceptualize ideas, and express these ideas through imagery. We focus on educating our students to communicate by creatively manipulating image and text within analog and digital environments..
Through our courses and faculty, we nurture original thinking and the ability to formulate and express clear, relevant concepts. Working in a wide variety of applications—from sequential storytelling to advertising to editorial and print illustration—you’ll address the visual transmission of meaning and discover the intellectual rewards in the images you create. We will challenge you to master the technical skills required by a wide range of materials and techniques—from the traditional media of pencils, acrylics, oils, and inks, to contemporary collage, photographic, and digital processes.
A solution to any problem must be rooted in the deepest respect for the meaning of your activities and the potential impact of your work on the immediate and greater culture. Most importantly, we encourage students to develop a professional approach to their work. You’ll draw inspiration from field trips to professional art studios and advertising agencies, as well as from interaction with a steady flow of visiting artists. At the end of each year employers, illustrators, and designers are invited to the Institute to review portfolios and share experiences with students.
CIA’s Illustration studies cover some diverse areas: presenting ideas, conveying emotions, illuminating text, and creating narrative without text. Problem solving remains a core objective for the illustrator.
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Marketing and Design
• Ergonomics •
Materials and Processes Graphics for Design • Industrial Design 1.1, 1.2, 2.1, 2.2, & 3.1 • Communication Skills 1.1, & 1.2 • Transportation • 3D Modeling 1.1, 1.2, 2.1 & 2.2 • Design Center-Based Learning • BFA Preparation • BFA Thesis and Exhibition •
Freshman Environmental Elective: • Design
Consistently ranked as one of the top programs in the country, CIA’s Industrial Design major produces graduates who are working at the top of the field, solving real-world
Careers: Our high rate of employment is evidence that our graduates are in high demand. Many of our graduates work for product manufacturing/marketing firms (Honda, Nike, Fisher Price), consulting firms (IDEO, Continuum, Astro), or become entrepreneurs (starting consulting firms).
problems and becoming successful entrepreneurs.
Because of their innovative thinking, work ethic, and solid training, many become leaders in the field, practicing in some of the world’s top product development studios designing automobiles, consumer products, medical products, furniture, and toys.
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Industrial Design CIA’s Industrial Design program is rooted in a rigorous curriculum where each project is centered on research, conceptualization, and refinement. Our approach builds a strong understanding of the profession: the innovation process, users, market forces, manufacturing, sustainability, and business practices. As an Industrial Design student you’ll develop drawing, modeling, and computer-assisted design skills, which are critical to developing and communicating ideas. As you progressively move through fundamental concepts, we make sure to balance the development of critical knowledge and skills with your individual areas of interest. Our faculty teach methods that are solution-driven in a collaborative and energetic classroom environment. You’ll understand problems and opportunities, broadly explore concepts, and critically evaluate and refine solutions. As an Industrial Design student at CIA, you’ll develop skills in visual communication, form development, and presentation, and build knowledge of manufacturing, ergonomics, and marketing.
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Each spring, you will participate in a truly dynamic recruitment opportunity: the Spring Design Show. Through this show, many of our students complete two internships, allowing them to refine their skills, get firsthand exposure to industry practices, and network with professional designers. Collaboration is an integral part of our curriculum and Industrial Design students often collaborate with other CIA programs, other colleges, and businesses. Several international companies work with us in a program that exposes our students to real-world challenges. They help students bring ideas to production, and provide valuable experience, exposure, and potential income. The Industrial Design program has built an environment based on a professional industrial design studio. Classes take place in an open studio comprised of individual student studios and collaboration spaces. All students have easy access to cutting-edge computer technology, shop facilities, presentation rooms, project rooms, and rapid prototyping.
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Interior Design In CIA’s Interior Design program, we emphasize commercial, retail, architectural, functional, and spatial design, rather than residential design. Our curriculum develops design processes, sensitivity and knowledge of material specification, and ethical problem solving.
Our hands-on approach to teaching encourages collaboration with local design firms that bring you real-world experience. Through these partnerships, you can take on exciting assignments, which may include designing restaurants, health care centers, car dealerships, museum space, or exhibition and showroom space. These practical experiences are the most powerful ways to discover industry expectations, acquire an understanding of designer–client relations, and gain professional self-confidence. Communication skills are central to a successful career in Interior Design. That’s why CIA’s Interior Design program weaves opportunities for developing strong communication skills into each aspect of our curriculum. Classroom critiques and professional client presentations will refine your verbal skills and ultimately pay off in the form of solid client-relations skills. Presentation methods, such as drawing, rendering, CAD technologies, and 3D modeling, are a few of the studio tools you will learn. You can also expect to research projects and develop a sound basis
for your concepts and solutions. Throughout your major study, you will also attend lectures and symposiums sponsored by industry leaders and noted award-winning designers and design firms. Leading manufacturers of furniture and materials contribute to our studio environment through materials workshops. Off-campus activities expose Interior Design students to historical landmarks as well as leading design firms in the region. Our students often secure summer internships, as well as part-time work in the greater Cleveland design market. Student exhibitions and job fairs are a feature of the Institute’s Interior Design experience. The Interior Design curriculum shares resources as well as studio space with the Industrial Design Department. You’ll find an atmosphere of collaboration, innovation, and community— as well as healthy competition—within the design programs.
Space and Planning Fundamentals Architectural Drawing and Documentation • Retail, Restaurant, and Store Design • Materials, Research, and Space Planning • Communication Skills I & II • Graphics for Design • Intermediate Problems • Retail Design and Brand Design • Architecture and Communication Skills • AutoCAD • Advanced Problems • Senior Thesis Problem • BFA Preparation • BFA Thesis and Exhibition •
Freshman Environmental Elective: • Design
Careers: Interior Design graduates are employed in a variety of consulting design, architectural, and interior design firms, particularly those that specialize in interior architecture and retail design such as Design Forum, FRCH, MillerZell, Chute Gerdeman, or Jones Apparel Group.
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Creative Process and Materials Studies Language and Materials • Craft + Material Culture Core Studios • Intro to Jewelry + Metals • Flatware • Casting • Forming and Fabrication • Surface • Mechanisms • Advanced Projects • Jewelry Concepts • Art and Machine • Modeling • Recycling and Renovation • Ceremony and Ritual • Forming and Fabrication • Color • Settings • A lternative Materials for Jewelry • Production • Settings: Advanced and Basic • Thesis/Professional Portfolio • BFA Preparation • BFA Thesis and Exhibition •
In CIA’s Jewelry + Metals major, you’ll work with both traditional and contemporary metalsmithing processes to grow as an artist of decorative and functional art— including jewelry, fashion, utilitarian, and small-scale sculptural objects. The skills, knowledge, and broad experiences you collect here will build your confidence to pursue ambitious, intelligent work without compromise.
Freshman Environmental Elective: • Craft + Material Culture
Studio Artist: one-of-a-kind and production jewelry • Designer • Modeler • Prototype developer • Object maker for interior/exterior home decor and architectural detailing
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Jewelry + Metals A thorough understanding of techniques and materials is fundamental to your development as a self-sufficient, successful, prosperous artist in this field. After learning the fundamentals, you’ll broaden your experience through more advanced uses of materials and techniques including forming and fabrication, lost-wax casting, electroforming, anodizing, sophisticated “stone” setting, working with mechanisms, mixed media, and machining. Woven throughout our curriculum is coursework that will give you an understanding of the history of the field and the contemporary attitudes and ideas affecting the making of wearables and objects within our culture. Our fully equipped studio enables you to master advanced techniques and explore the boundaries of the field in concept and design, materials, and technologies. Faculty provide individual attention and are committed to teaching you the latest in jewelry and metalwork, including 3D modeling, CAD/CAM, and rapid prototyping—a technology that turns your CAD/CAM design into a threedimensional scale model. The study of Jewelry + Metals ensures a lifetime of exploration and engagement as an artist. The Institute’s program operates in an environment that fosters risk taking and creative problem solving and encouragement of interdisciplinary study.
Core Studio courses in this major present you with an opportunity to work closely with faculty in Glass, Ceramics, and Enamel. These cross-disciplinary courses offer an environment of diverse skill building, experimentation, and discovery. In addition to studio subjects, professional practices are addressed in every class. We believe it’s important to participate in exhibitions and competitions and learn to document work in digital media. Each year CIA students produce and enter the juried Student Independent Exhibition, an exhibition of student work held in the school’s Reinberger Galleries. In addition students exhibit during our Spring Show. Some of our graduates have worked with famous designers such as Isaac Mizrahi, Trina Tarantino, Vera Wang, and Alexis Bittar, designing wearable accessories for the runway, for everyday use, as well as for fun. The Jewelry + Metals curriculum embraces other materials and spans boundaries beyond the metal. You will study significant artists and their works through studio and research assignments, presentations, exhibitions, and field trips. Projects are presented to challenge you to research a subject, explore its boundaries, and innovate.
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Painting Courses: ajor Studio: Mechanics of Meaning: Subject, M Form, and Content • Painting Seminar • C riticism and Studio Practice • P opular Culture, Material Culture, and the Arts: A Studio Course • Collaboration, Image, Object, Installation, and Performance • C ollage, Assemblage, and Installation • H ybrid Approaches to Drawing and Painting: Digital Media • I ndependent Research Project • BFA Preparation • BFA Thesis and Exhibition • • • • • • • •
• • •
Image and Form Reproducibility Aesthetics, Style, and Content Artist as Producer Art in the Global Context Painting History (1828–2010) he Tactile and the Digital: Painting T in the New Century ainted Bodies: The Contemporary Figure P ainting as System, Method, P Organism, and Concept raming the Subject and the Construction F of Meaning I mage and Narrative: Concept, Abstraction, Mimesis n Painters and Painting: Artist, Author, Aura O ainting and the Photograph: From Delacroix P to Gerhard Richter ainting Lab: Explorations in Representation P and Figuration ater+: An Exploration of Water-Based Media W in Contemporary Painting Practices Color, Scale, Mark, and Form orking Collaboratively: Art and the W Group Dynamic ajor Studio: Medium Is the Message M Major Studio: Self, World, and History ajor Studio: Constructing Narratives M
Freshman Environmental Elective: •
Visual Arts + Technologies
Careers: The BFA degree will prepare you for a career in the visual arts as a professional artist. Many of our graduates go on to earn their MFAs at pre-eminent graduate programs to deepen their knowledge of their own practice or become a curator, critic, art administrator, or art teacher on the K–12 or college level. Others follow entrepreneurial paths pursuing successful careers as illustrators, designers, creative directors, set designers, or creative talent for television shows.
The Painting department at the Cleveland Institute of Art has a long and storied history of producing successful alumni. In this major you’ll experience a wide range of approaches to abstract and figural painting as well as alternative media and installation.
At the core of our curriculum is an understanding of what it means to be a professional artist. We present a solid grounding in technical skills, art criticism, and theory, as well as contemporary practices in the visual arts. Our faculty of professional artists with diverse approaches to art-making will guide your work through individual and group studio critiques, workshops, seminars, and courses in special topics. Once you have received a firm grounding in both the technical and conceptual aspects of painting you’ll begin to develop a personal body of work and an imaginative approach to problem solving. As part of the Visual Arts + Technologies (VAT) Environment at CIA, Painting students share in an integrated curriculum that will give you a broad knowledge in the visual arts and in-depth awareness of painting as a studio practice. Your knowledge and experience will be enriched as you pursue collaborations and shared coursework in the other disciplines that make up the VAT Environment: Drawing, Printmaking, Fiber + Material Studies, and Sculpture.
A series of special events, exhibitions, artist visits, and scholar programs will present you with the issues and practices you can expect to face in professional life. In addition, you’ll have access to the VAT Environment Artist-In-Residence, who is an artist working at the top of his or her field. This artist teaches regular courses in the Environment as well as works individually with students. In the spring you have an opportunity to travel to New York during an annual trip sponsored by the VAT Environment, where you’ll experience first-hand professional galleries and exhibitions such as the Whitney Biennial and the Armory Show. In our Professional Practices program you’ll develop small business knowledge that will empower you to set up your professional studio. You’ll be tutored in creating your professional portfolio and developing grant-writing skills. In addition, you’ll learn about the appropriate communications skills and proper etiquette necessary for successfully approaching dealers, curators, and collectors. Painting students have generous individual studio spaces, a well-equipped workshop, and excellent critique space, all within the sky-lit, factory loft space of the Joseph McCullough Center for the Visual Arts. The Painting curriculum culminates with a BFA exhibition that consists not only of presenting a body of self-initiated work, but also an oral defense and a written artist statement.
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Your future in photography could include any of the following careers:
Visual Organization and Media Narrative, Image and Sequence • Web Practice and Presence • Mechanics of Digital and Film • History of Photography • Studio Lighting • Editorial Photography • Fine Art Printing: Digital and Chemical • Visual Thinking in Contemporary Photography: Projects/Presentations • Digital Photo Imaging I • Contemporary Color Photography in Theory and Practice • Digital Lighting • Visual Thinking in Contemporary Photography: Projects and Presentations • Special Topics: Contemporary Narrative Constructs: Digital and Film-Based Projects • Digital Photo Imaging II: CS4 Color Managed Workflow • Digital Photo Imaging III: Advanced Digital Projects: Archival and Large Format Printing • Video Basic Tools I • Video II •
Studio artists Video artists • Art educators and university professors • Independent and industry photographers and filmmakers • Art directors • Commercial photographers • Fashion photographers • Photojournalists • Digital imaging specialists • Scientific and medical imaging • Gallery and museum directors • Visual effects supervisor •
BFA Preparation BFA Thesis and Exhibition Freshman Environmental Elective: Media
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The unique opportunities we offer in our Photography major will give you a creative advantage in shaping your career and help you launch your dream profession.
Focus your study on one of three tracks: Digital and Photographic Arts, Film and Video, or Publication Photography. In each track, you’ll develop a deep knowledge of the medium through a curriculum steeped in the traditional methods of photography— film and chemistry. Your technical expertise will grow as you work with professional imaging equipment, formats of digital and film cameras, studio lighting, and digital manipulation and enhancement. In addition, your study of still and moving imagery will include exposure to film and video, digital editing, current rip printing software, and the use of special effects. Each track within the major offers the expertise of a diverse, committed faculty and the insight of visiting artists delivered through interdisciplinary, collaborative teaching and creative exploration. All students work in their own individual studio space and have access to exhibition areas. You will achieve a rich and varied knowledge of the techniques and aesthetics of photography as you explore an array of photographic and video materials, processes, and conceptual approaches. You’ll refine your unique vision and learn to communicate that vision through assignments, lectures, critiques, and one-on-one discussions. As a student in this major, you’re encouraged to participate in exchange programs, international mobility studies, and internships with professional artists and photographers. You can also participate in onsite workshops and lectures sponsored by professional organizations such as ASMP (American
Society of Media Photographers) and by industry representatives from Fujifilm, Leaf America, Gretag MacBeth, Mamiya, Hasselblad, and Polaroid Corporation. All CIA students take Professional Practices courses to develop those skills for a successful career and in the Photography major we also bring in professional journalists, critics, writers, collectors, curators, and museum and gallery directors to meet with you and critique and review portfolios. CIA’s Photography department operates in spacious facilities equipped with film-based color and black-and-white darkrooms, a full-featured digital imaging and printing lab, and both video and 16mm film editing and computing facilities. You’ll work in state-of-the-art lighting studios with a large Light Side Lighting Studio that is more than 1,200 square feet with a 24-foot ceiling and a two-story wall of windows. Our Dark Side Lighting Studio is 898 square feet with 12-foot ceilings and a curtain system for light control. Additional equipment also available to you includes color and black-and-white enlargers, medium- and large-format cameras, color management software, and black-and-white dipand-dunk film processing. Our graduates go on to become commercial photographers, photojournalists, and fashion photographers and work in scientific, medical, and forensic imaging. In addition, graduates have gone on to graduate schools, to contribute as art educators, or work within the field as independent photographers, filmmakers, and video artists.
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Printmaking For centuries, printmaking has been used to influence culture. This experimental approach to image making embraces, utilizes, and challenges technology from relief printing to online distribution of digital products.
Image and Form
• Reproducibility •
Aesthetics, Style, and Content Artist as Producer • Art in the Global Context • Independent Research Project • Image Construction I: Line and Sequence • Image Construction II: Form and Color • The Artist’s Book Now: Narrative and Form • Collaboration Through a Printed Experience • Propaganda: Media, Dissemination, Techniques • Expanded Print: New Imaging • The Liberated Print: Investigation of Alternative Methods • Hybrid Approaches to Drawing and Painting: Digital Media • BFA Preparation • BFA Thesis and Exhibition •
Studio artist Professional contract printer • Print, graphic, or web designer • Museum professional • Conservation • Gallery professional • Exhibition curator • Collaborative project facilitator • Illustrator •
Freshman Environmental Elective: Visual Arts + Technologies
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As a print student you will develop a broad base of knowledge of various print mediums, including traditional intaglio, lithography, and relief printing, as well as digital media applications. The program combines approaches to learning that range from kinesthetic to theoretical. As you grow in the major, so too will your ability to produce distinct impressions and multiples, from hand-printed limited editions to unlimited digital ones. In the Printmaking major you will find cooperation and synergy—students and faculty investigating, challenging, and influencing this field together. We foster a vigorous environment with a structured program that nurtures, challenges, and supports individual vision and talent. Our studio workshop cultivates an innovative and collaborative atmosphere where you’ll take part in the free exchange of ideas, methodology, and artistic inquiry. Within the Printmaking space, we’ve created a professional studio setting of more than 4,000 square feet. You’ll have access to numerous etching and lithography presses, as well as book arts and letterpress facilities. You will also receive a personal studio space, allowing you to explore and create in your very own environment. Through our required studio courses you’ll develop a comprehensive approach to understanding, defining, making, and questioning your practice of printmaking. Our curriculum is designed to develop your intellectual, creative, and critical abilities. You’ll work with a committed group of faculty who are practicing artists widely respected for their knowledge and achievements. They will work with you to hone your skills and define your personal direction. As part of the Visual Arts + Technologies (VAT) Environment at CIA, Printmaking students share in an integrated curriculum that will give you a broad knowledge in the visual arts while strengthening your in-depth conceptual knowledge of the
Printmaking discipline. Your coursework and studio practice will be enriched as you pursue collaborations and shared coursework in the other disciplines that make up the VAT Environment: Drawing, Painting, Fiber + Material Studies, and Sculpture. In addition, you’ll have access to the VAT Environment’s Artist-In-Residence, who is an artist working at the top of his or her field. This artist teaches regular courses in the Environment as well as working individually with students. In the spring you have an opportunity to travel to New York during an annual trip, sponsored by the VAT Environment, where you’ll experience first-hand professional galleries and exhibitions such as the Whitney Biennial and the Armory Show. In our Professional Practices program, students develop small business knowledge that will empower you to set up your professional studio. You’ll be tutored in creating your professional portfolio and developing grant-writing skills. In addition, you’ll learn about the appropriate communications skills and proper etiquette necessary for successfully approaching dealers, curators, and collectors. The Printmaking curriculum culminates with a BFA exhibition that consists not only of presenting a body of selfinitiated work, but also an oral defense and a written artist statement. Our Printmaking graduates go on to work in fine arts print studios executing original prints for other artists. They have gone on to receive full stipends in prominent studio programs in museums and in academia and are creative and challenging teachers and cultural activists. Our graduates have gone on to work in web design companies, in museums, in conservation, as curators for publishers, and in art galleries.
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CIA’s Sculpture program will prepare you for a dynamic career as a professional working artist. Students who have graduated with degrees in Sculpture have gone on to work in a wide variety of fields including creative design, education, gallery direction, and nonprofit administration. An exceptional number of our graduates maintain life-long careers as successful studio artists operating in the top of their field.
Image and Form
• Reproducibility •
Aesthetics, Style, and Content Artist as Producer • Art in the Global Context • Basic Materials and Techniques • Aesthetics of Materiality • Mapping and Memory: Spatial Constructions • Design as Sculpture • The Rhetorical Object: Conceptual Constructions: Intermediate Sculpture • Art and Public Space • Advanced Studio Workshop: Physical and Visual Language/BFA Portfolio Development • Major Day • Kinetics and Space • Environmental Sculpture • Installation: Light as Material • Installation and the Constructed Object • Video I • 3D Modeling • Independent Research Project • BFA Preparation • BFA Thesis and Exhibition •
Freshman Environmental Elective: Visual Arts + Technologies
No longer confined to the pedestal, the field of sculpture has exploded since the 1950s. Always a creative and diverse field, this traditional discipline now encompasses myriad modern approaches.
As a sculpture student you’ll craft traditional objectbased work as well as installations, performance pieces, public art, social interventions, site-specific works, and earthworks. You’ll receive instruction from a faculty of professional artists, with diverse approaches to art-making, who are committed to mentoring their students. Beginning-level courses in Sculpture establish a critical foundation of sculptural design and studio skills. We want each student to have a thorough introduction to all of the various processes and techniques important to the sculptor. These will include mold making, foundry casting, forging, wood and metal fabrication, and more. Guided by faculty advisors who provide one-on-one instruction and guidance, Sculpture majors are often able to work directly with other studio areas within crafts, design, and media technologies. As part of the Visual Arts + Technologies (VAT) Environment at CIA, Sculpture students share in an integrated curriculum that will give you a broad knowledge in the visual arts as well as an in-depth conceptual knowledge of the practices associated with Sculpture. You’ll have many opportunities to pursue collaborations and shared coursework in the other disciplines that make up the VAT Environment: Drawing, Fiber + Material Studies, Painting, and Printmaking. Working with these majors will give you a chance to experiment with various modes of presentation including installation, performance, and site-specific work.
In addition, you’ll have access to the VAT Environment Artist-In-Residence, who is an artist working at the top of their field. This artist teaches regular courses in the Environment as well as working individually with students. In the spring you have an opportunity to travel to New York during an annual trip, sponsored by the VAT Environment, where you’ll experience first hand professional galleries and exhibitions such as the Whitney Biennial and the Armory Show. In addition we will introduce you to new technologies in visualization, design, and execution of sculptural work. Sculpture is housed on the second floor of the McCullough building with extensive wood and metal working capabilities. And we’re also proud to offer you the use of our newly installed cold-casting facility.
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Visual Organization and Media Narrative, Image and Sequence • Introduction to Media Production and Integration • Video I • Sound Design • Moving Images in Space • Web Practice and Presence • Intro to Electronic Arts: Coding, Hacks, and Space • Experimentation in Electronic Arts I & II • Creative Resistance: Media Art in Social Sphere • Code as Art: Programming for Artists • BFA Preparation • BFA Thesis and Exhibition •
Freshman Environmental Elective: • Integrated Media
Take your creative mind to a new level as you work at the intersection of social media, culture, technology, and the studio arts. In our T.I.M.E.– Digital Arts major you’ll develop innovative projects from the world of interactive media.
Careers: • New
media (electronic arts) practicing artist • Graduate school • Teaching • Curators • Freelance and independent media producer • Museum installation
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T.I.M.E.– Digital Arts We encourage you to experiment as you develop hybridized projects that incorporate video, interactive web, photography, and animation technologies. The final product is based on your creative input. In the T.I.M.E.–Digital Arts major you will develop custom media tools, learn to research, experiment, create prototypes of projects, produce, and document the process and final outcome. You’ll also build your ability to master interactive forms of media including live media, performance, and linear media. Work with computer scripts, develop interactive sound and video works, expand gaming environments, or create circuit bending sound instruments. You’ll be able to conceive, plan, and program your own software-based artwork. As you develop strong foundation skills in your first year at CIA, your knowledge of traditional studio arts will enhance your interactive projects, giving you a robust toolkit to expand your creative process. Our faculty are professionals in the field who are well-known for creating a collaborative classroom environment to help you grow creatively and professionally. Faculty will guide you through an important foundation in research and critical thinking—helping you develop the tools for creative problem solving and conceptual thinking. You’ll also explore the impact your work will have in social, ethical, and cultural contexts, including developing the strategies of integrating social activism with media art. With CIA’s 9:1 student-to-faculty ratio, you’ll receive the individual attention and mentorship that will help you develop real-world experience.
In addition to providing access and exploration of traditional studio arts, we know that your major requires extensive technology use. At CIA you’ll work in more than just our state-of-the-art computer labs. You can check out the latest equipment for digital video, lighting, and sound. And your projects will look professionally produced with the help of a motion capture system, a green-screen Chroma Key studio area, two separate lighting and shooting spaces, and a sound recording studio. Career success at CIA is built on developing real-world experience and strengthening your communications skills. Each year you’ll have several opportunities to show your work to the CIA community and to industry and fine arts professionals through our E.M.I.T. Film, Video, and Animation Festival; the juried Student Independent Exhibition held in the school’s Reinberger Galleries; and our annual Spring Show. In addition, we strongly emphasize presentation and public speaking skills that prepare you for pitching your ideas and directing a team.
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Video Excel in the field of video and time-based media with the resources and creative perspective that only a premier college of art and design can offer.
As a student in the Video major at CIA you’ll work in the traditional methods of video as well as in the software-generated or assisted techniques of image creation. Work with faculty who have proven success in video art as you develop projects that incorporate cinematography, sound, lighting, editing, photography, and animation. As a Video major you’ll experience a comprehensive range of challenges and approaches to working on the entire media-production pipeline, including the use of digitally-based art and design strategies, storyboarding, sequencing, concept mapping, acting, pre-production, and post-production. And we provide historical context to film—initiating discussion on the cultural and social impacts of video and digital media. Collaboration and team projects are a vital part of the studio experience at CIA. As a major within our Integrated Media Environment, Video students join our community of digital arts students. You’ll take core courses with students from other majors in the Environment and regularly exchange a variety of differing perspectives and techniques. These experiences build team skills integral to collaborative brainstorming, character design, narrative ideas, production, and presenting and critiquing project outcomes. 176 cia.edu/admissions
Built into our curriculum are many opportunities to work with professionals in the field and gain valuable professional skills prior to graduation. In addition to encouraging and facilitating students to submit finished work to film festivals throughout the world, CIA’s own annual E.M.I.T. Student Film, Video, and Animation Festival gives students the opportunity to show their work publicly. Plus you’ll be inspired by alternative and independent films at the Cleveland Institute of Art Cinematheque, named by the New York Times as one of the country’s best repertory movie theaters. CIA Video major students will receive a personal computer with all needed software for the entire duration of their study as well as a studio space. We know that your major requires extensive technology use, so you’ll have access to more than just our state-of-the-art computer labs. With your ID card you can check out the latest equipment for digital video, lighting, and sound. And your projects will look professionally produced with the help of a green-screen Chroma Key studio area, two separate lighting and shooting spaces, and a sound recording studio.
Digital Photography I Experimental Video or Motion Graphics • Introduction to Animation • Introduction to Media Production and Integration • Lighting • Moving Image in Space • Narrative Production I & II • Narrative, Image, and Sequence • Screenwriting • Sound Design • Video I & II • Visual Organization and Media • Web Media Production • BFA Preparation • BFA Thesis and Exhibition •
Freshman Environmental Elective: Media
Careers: • Videographer • Editor •
• Director •
Director of photography Video and special effects production • Production assistant • Compositor • Production designer •
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CIA Students attend CIA from all over the country and all over the world.
Approximately 500 undergraduate students from across the globe attend the Institute.
Our Faculty Your professors will help define the artist or designer you becomeâ€” the artistic risks you take and the approach you develop to creative problem solving. At CIA our faculty open doors to experiences that are unmatched. Their dedication to teaching and exploration fuels our creative community.
As practicing artists and designers, CIA faculty are mentors who teach from a place of experience and success. CIA faculty artwork rests in the permanent collections of the most prestigious museums in the world: the Smithsonian, the Vatican, the Museum of Modern Art, and the Cleveland Museum of Art. Our design faculty have obtained numerous patents, designed spaces for internationally known businesses and restaurants, and worked with local governments to establish sustainable design solutions. They value lifelong learning and are regularly awarded intensive fellowships and international residencies to continue their artistic explorations. And they bring those experiences back to the classroom.
With a 9:1 student-to-faculty ratio our faculty engage students on an individual level. Small class sizes enable faculty to work with you in the studio and the classroom, to take learning around a table or face-to-face rather than to a lecture hall. Our faculty excel at this one-on-one learning experienceâ€”it is an attribute our alumni always remember, years after graduation. Their community partnerships become your community partnerships. For their students, they open doors to workshops with visiting artists, internships, partnerships, and real-world experience. On the next pages, take a look at some of our faculty, learn about their own artistic explorations, and see the partnerships theyâ€™ve built. Or see a full list of faculty by department on page 206.
On art : Make art about something.
On teaching : I aim to teach students to think, question, communicate, and create projects that enrich their education and conceptually strengthen an idea, thought, or theory.
On her bookshelf: Tomorrow’s Table: Organic Farming, Genetics and the Future of Food by Pamela C. Ronald and R. W. Adamchak
Kristen BaumlierFaber Associate Professor: T.I.M.E.–Digital Arts California College of Arts and Crafts, MFA
For Kristen Baumlier-Faber, life leads to art and art can motivate. It can change thoughts and perspectives. It can be a wakeup call and a call to action. As a teacher, Baumlier-Faber inspires students to collaborate in their own education and engage the transformative power of art. She encourages them to channel their beliefs “past complaining and toward asking questions and indicating solutions.” In her own art, Baumlier-Faber uses interactivity and humor to engage audiences around the world. In 2005, she developed “Oh, Petroleum,” in which she transformed into the Petroleum Pop Princess to spark debate over materialism and
oil consumerism. As an interdisciplinary artist, she uses moving images, sound, and choreography in nontraditional ways to provide multiple access points to ideas. She combines analog and digital sources and work in forms that include video, sound, photography, performance, and installation. Catch her in her off-hours climbing rocks, scouting farmers markets for food to use in great vegetariancooking recipes, and passionately researching new projects. A new project takes her to Wisconsin to buy soybeans for an investigation of food systems and the genetic engineering of food.
Dan Cuffaro Department Head: Industrial Design Anne Fluckey Lindseth Professor of Industrial Design Cleveland Institute of Art, BFA
Dan Cuffaro loves good design. He loves it so much that when he’s not working in it professionally, he’s doing it for fun. “I enjoy walking through old neighborhoods and downtown, soaking up the amazing architectural details and rich materials of traditional structures,” says Cuffaro. “But I also seek out new and innovative architecture whenever I travel. One of my side-projects is creating scale replicas of my favorite places in the world. This three-year effort thus far includes the Chapel of the Holy Cross in Sedona, AZ, Charles Street in Boston, and a Nordpark transit station in Innsbruck, Austria.” For Cuffaro, this project is about understanding relationships of spaces and materials, the importance of scale and the evolution in thinking over time. Cuffaro is co-founder of the District of Design, an economic development initiative in Cleveland. He is also winner of six IDSA/Business Week IDEA awards and holds 13 patents.
On professionalism: My intent is to produce good design, which I believe is exemplified by solutions that meet the intended need and are beautiful, function well, and are well made.
In the classroom, Cuffaro leads students toward building knowledge, skills, and a visual vocabulary so they can meet design challenges with both expertise and a sense of humanity. Central to his philosophy, he says, “is the ability to see the world from someone else’s point of view. This user-centered approach provides a continuous source of new problems, which can yield new ideas while helping the designer develop a sense of empathy and context.” One of the most successful teaching experiences concerned a project that addressed the safety of U.S. servicemen. “The project lasted over a year and required students and faculty to work side-byside,” Cuffaro says. “The opportunity to define the correct process, then to pair professionals with students on solving a real and serious problem, provided an amazing learning opportunity. The students who were involved matured so quickly and really understood the talent and experience of their faculty.”
On teaching : Core to my philosophy is the ability to see the world from someone else’s point of view.
On the well-set table: I love trying new restaurants, but my favorite spots to dine out are Pomodoro in Boston’s North End and Momocho in Cleveland’s Ohio City.
On art: Building narratives through sequences, I challenge the notion of audience desensitization by media, often responding to a chain of sensationalized events.
On teaching : We come in contact with many people during our life. Relative to an entire lifetime, the amount of time I will share with a student is small. My devotion is mandatory.
Maggie Denk-Leigh Department Head: Printmaking Associate Professor: Printmaking Clemson University, MFA Printmaking Xavier University, BA Printmaking, Graphic Design and Business
Denk-Leigh instructs by teaching and by doing. “I believe an educator teaches by example,” she says. “My own studio work ethic is two-fold. It demonstrates solutions to technical and project-driven questions and it reveals the educator as a model of a diligent artist and lifelong student.” Denk-Leigh is a board president of Morgan Conservatory (a paper and book arts center) and received Best in Show Award at “COMMUNinkATE” The Spring 2010 Mid-America Print Council Juried Members Exhibition.
As a fine-art printmaker, Denk-Leigh’s calendar is packed with new projects, group and solo exhibitions, and with jurying the works of others. Critical Condition, her artist book and lithograph series, stemmed from her interest in the growing debate over climate change. “It’s about what has come before and what comes next. Terminology associated with the northern polar ice cap has stimulated considerations to what has come before: Before in earth’s evolution, before in the life span of living species as the thaw reveals a time past, and before my life in reflection to what comes next,” she says.
Mari Hulick Associate Professor: Communication Design Northwestern University, MFA University of Michigan, BA Art Institute of Chicago, Post Baccalaureate
As a true educator, Mari Hulick is never done learning. The Head of Communication Design has lightened her load of earthly possessions to make it easier to travel and she keeps an eclectic stack of reading material at the ready for her off-hours. “Every day, I walk, make something new in the studio (no matter how small), make something new in the kitchen (no matter how silly), listen to at least one new piece of music, and read a little bit about something I didn’t know about yesterday.” That helps explain why, when it comes to her work in the classroom, Hulick believes it’s her job to show students that school is not a stopover before ‘Real Life.’ “It is real life,” she says. “And the more we impart our passions about and our contradictions within our professions, the better prepared our students will be for their new (just as real) lives.”
On teaching : Teaching is not simply a part of my work and my life. It is central to both.
In recent design work, she collaborated with Carl Pope on “The Wall Remixed,” a print campaign celebrating North Philadelphia neighborhoods. She is creating ongoing information design for educational tools on the American Civil War and she’s involved in a history campaign on the Flats. “We live in a time when the design of all things, from the constructed world to the patterns of human thought and activity, revolves around information,” Hulick says. “The role of the communication designer is to reveal and assemble this information into physical, digital, and spatial documents that make our world possible and functional.”
On design : Good design serves its purpose well. Great design inspires, angers, awes, enlivens, calms, and transcends. It is the stuff of life.
On travel : I love to travel and to make up for the carbon footprint of the international flights every year, I live in Cleveland without a car.
On art : The political nature of art is its ability to experientially re-order our relation to the world and with this give us insight into our social existence as subjects rather than objects.
On teaching : The reward of teaching is the sharing of one’s knowledge, but also to enable a student to develop their critical abilities and views.
On his bookshelf: Good cookbooks, science fiction and murder mysteries.
Saul Ostrow Chair: Visual Arts + Technologies Environment Associate Professor: Painting University of Massachusetts, MFA School of Visual Arts, NYC, MFA School of Visual Arts, NYC, Four-Year Certificate
For more than 30 years, Saul Ostrow has committed himself as an artist, curator, thought leader, and writer on the critical issues of art and culture. From studio to classroom to the pages of international art magazines, Ostrow digs deep into how art works. In engaging with students, Ostrow aims to guide them not just toward competence with craft, but also toward deep understanding of their work and the art of others. Ostrow is also art editor for Bomb Magazine and editor of “Critical Voices in Art, Theory, and Criticism” (Routledge Press).
“I want students to learn that the fundamental perspective of an artist is informed by technical, intellectual, communication skills, and intuition,” he says. “It is also necessary to offer them concrete examples of contemporary artists who worked within multiple frameworks so that they may understand the mechanisms of the art world, while studying the artists’ work for their aesthetic inventiveness and rigor.” Ostrow lives and works in New York and Cleveland. He loves to cook and entertain, drinks good wine and cold vodka, and enjoys the occasional cigar.
Brent Kee Young Department Head: Glass Professor: Glass State University of New York, College of Ceramics at Alfred University, MFA San Jose State University, BA Ceramic Art/Glass concentration
Innovation and tradition find their way into the work of Brent Kee Young, whose contemporary glass has been recognized around the world. Young has traveled throughout the United States and Asia to lead workshops on contemporary glass. Young was head of Glass at Aichi University of Education in Japan in 1990. He established the studio and curriculum for the first Glass program in a National University in Japan. For his recent Matrix series, Young posed the creative question: Can form be defined using only light and line? The works themselves, in which forms are created from webs of clear glass, were informed by geometric studies. “The mathematical study of volumes of solid revolution has helped immensely,” Young says. “The works are usually comprised of a number of geometric forms rotated into a solid, set off by another form that usually ends up being part of a rectilinear compositional base.”
On art: Maintaining this dialogue between the artists, the work, and the viewer is the essence of what art is.
Young’s affection for folk art can be found in the simplicity of form. “I love the unpretentious, honest feeling of the maker’s hand revealed within the object,” he says. “The least pretentious, least decorated forms seem to resonate with me the most.” Young wants his students to achieve excellence on two levels. “One is to dedicate energy, time, and resources to the learning of the media, working with a fascinating material, with all of its history, art, craft, physics, difficulties, laying groundwork within each student to somehow understand the ‘how’s’ of working in glass,” he says. But the “why’s” are at least as important “to understand themselves and expand on the limitations that they have to this point grown with.”
On teaching : The buzz phrase now is lifelong learning. In the ’70s, I called it learning to learn. The importance is not the object but what you learn in the process of realizing it, emphasizing the learning process.
On six strings: Young recently picked up the Martin 0021 guitar he learned to play during the folk-music era before abandoning it for 35 years while he dedicated himself to glass and ceramics. 193
On teaching : I am an artist and I speak to the students as artists.
Tina Cassara Department Head: Fiber + Material Studies Professor: Fiber + Material Studies Cranbrook Academy of Art, MFA Barnard College, BA, Urban Studies
After earning her undergraduate degree, Tina Cassara spent time in Viques in the Juan region of Peru, where she studied with Francisca Mayer from Black Mountain College and taught natural dyes derived from indigenous plants to the local weavers in an effort to revive the industry. While living in New York City, Cassara was co-editor of Sing Out! The Folk Song Magazine before attending Cranbrook Academy of Art where she received a MFA from the Fiber Department. Cassara has conducted extensive research into women’s labor in the American textile industry, issues of European migration and relocation, and more recently, the assigned value of labor in historically women-dominated textile industries in the South. In the late 1990s, Cassara began exploring the history of textile production, one of the first areas of manufacturing to industrialize and one of the most
resistant to unions. A strong advocate for organized labor, Cassara began conducting one-on-one interviews in LaGrange, Georgia and nearby mill towns, with retired textile mill workers, factory owners, surviving union organizers, and members of various textile heritage societies. In 2008–09, Cassara was awarded a sabbatical to further her research in the network of textile heritage societies. She traveled to Cooleemee, NC, to work with organizers of the Textile Heritage Initiative and members of the Troop County Historical Society and perform additional research at the Center for Public History at the University of West Georgia. Cassara’s research continues in Scranton, PA, where she is examining documents related to the extensive growth of the mining and silk textile industries. She is currently working on a community-based, social practices exhibition at the Cochran Art Center in LaGrange, Georgia, scheduled for 2011.
Michael A. Gollini Department Head: Interior Design Associate Professor: Interior Design Cleveland Institute of Art, BFA, Industrial Design; minor, Interior and Graphic Design
In business and in teaching, Michael Gollini knows the value of the wide horizon. A veteran designer schooled in both product and interiors, Gollini has learned multiple disciplines and worked in a variety of arenas, providing conceptual imagery for retailers, restaurants, museums, and exhibits. In addition to his work at CIA, Gollini is president of Michael Gollini Design Group, Inc., and member of the design review board of the Cleveland Botanical Garden. His clients have included Walt Disney World, IHOP, Sears, Wolfgang Puck, and BMW.
Likewise, he hopes his students bring varied experiences to their studies and careers. “We must encourage students to carry on with their studies in art and literature,” he says. “These influences will build depth and broaden the spectrum of their work in their major. An eclectic education will build a student’s character and personality.”
He and his family live in a house he designed, expanded, and renovated “with the help of my father and a family full of tradespeople.” It’s filled with furniture he designed and built in his home shop. Gollini plays guitar, goes to concerts with his kids, and has a passion for movies as both lowbrow entertainment and a wildly influential art form.
On teaching : I try to encourage my students to think beyond the obvious while designing or doing research. If the project is to design a coffee shop, they need to go further into the DNA of the customer and their design proposals.
On technology: Working with a Wacom Cintiq and my traditional drawing-board skills, I can produce images that bridge traditional and contemporary while giving me editing flexibility that I didn’t have 10 years ago.
On his media shelves: I have a ridiculous comic and graphic novel collection going back to the mid ’70s. This art form is what motivated me to attend art school.
On her art: An ongoing intrigue with the natural world and our interpersonal relationships within it are the inspiration for my work.
On teaching : It is my goal that this environment of learning, discovery, practice, and assessment will nurture the development of each individual student as an independent artist.
On being green : She attempts to leave as minimal a footprint as possible on the environment, “and there’s always room for improvement.”
Gretchen Goss Chair: Craft + Material Culture Environment Department Head: Enamel Professor: Enamel Kent State University, MFA and BFA, Enamel
Gretchen Goss balances the time devoted to teaching and her studio with as much time as she can engaging with nature through gardening, picking and canning fruits and vegetables, running trails, and swimming in lakes whenever possible. So it’s little surprise that when she gets into her studio to create enamel art, nature shows up in spades. Farms, gardens, plant forms, and the tranquility of water are recurring themes in Goss’ work. And for more than 30 years, Goss has been committed to exploring the medium of enamel with students and artists. “It is liberating to work in a medium so unique and rarely seen in mainstream art and contemporary craft practice,” Goss says. 196 cia.edu/admissions
Goss enjoys travel and often travels based on teaching engagements. “I’ve had the opportunity to teach in England and on both coasts of the U.S. and between. I try to see and absorb as much of the local environment as possible with each new teaching experience.” Goss is also a frequent exhibitor at the Philadelphia Museum of Art Craft Show. With students, Goss aims to relay knowledge by example and exposure to established skills and traditions. But it’s important, too, that students feel encouraged to innovate. Her hope is that even as they’re learning techniques and concepts, they’re exploring a variety of career paths and homing in on who they want to be as artists.
Joyce Kessler Chair: Liberal Arts Environment Associate Professor: Liberal Arts Case Western Reserve University, PhD, American Literature Cleveland State University, MA Cleveland State University, BA, English Literature
Joyce Kessler is a believer in the Socratic method of teaching, giving students a chance to learn through debate and discussion. She believes that teaching is companionate; and her role is to walk with the student to the place of learning. An expert on the work of 20th century American novelist Willa Cather, Kessler has written and lectured on Cather’s transgendered characters, on her narrative strategies regarding the representation of race, and on Cather’s use of the visual arts in her fiction. Her article, “‘The Cruelty of Physical Things’: Picture Writing and Violence in Willa Cather’s ‘The Profile,’” will be published in Cather Studies, volume 9, in 2011.
On learning : Students are expected to learn not just from me, but from each other as well, and to contribute what they know to the general fund of knowledge as the course proceeds.
Beyond her work as Liberal Arts Environment Chair, she served as Interim Dean of Faculty from 2005–2007 and in 1996 collaborated with the Office of Academic Services to create the Center for Writing and Learning Support, which helps students with academic writing and study skills. Off-hours she spends time reading and writing, walking her Labrador, Cyro, and playing basketball with her dachshund, Roxanne, and plying her daily yoga practice.
On preparing to learn: To foster their keenest concentration, Kessler makes her students begin every class with a few Yoga poses.
On the alternate universe: Kessler is pretty sure she was a skateboard hero in another life.
On appreciating the past and imagining the future: He loves vintage blues music and has been an avid reader of science fiction since childhood.
On technique: “I adopt new technology when I can but much of my work is done with simple tools.”
William Brouillard Department Head: Ceramics Associate Professor: Ceramics New York State College of Ceramics at Alfred University, MFA
Bill Brouillard’s classes are structured around technique, subject matter, and the quest to develop a personal artistic voice. While class work is grounded in studio practice, his students also work in ideation and learn the history of the medium. As a practicing artist, Brouillard believes in the value of experimenting, researching, and understanding the value of creative dead ends— where seemingly unsuccessful work finds a second life as inspiration for future work.
Brouillard’s studio, a remodeled drugstore in a former Cleveland steel-making district, inspires him to incorporate industrial landscape and its artifacts into his work. In contrast, his series of majolica platters that he has been working on since the 1980s springs from the Italian pottery traditions of the fourteenth century.
Sarah Kabot Department Head: Drawing Associate Professor: Drawing Cranbrook Academy of Art, MFA
At the root of Sarah Kabot’s artwork, and that of her students, is drawing. In her classroom students are encouraged to challenge boundaries within and between media, but for Kabot’s students drawing skills are essential to understanding relationships of form and are the primary means to communicate ideas.
Through installation art, sculpture, and drawings, Kabot investigates the way we visually navigate an environment—altering physical space to challenge common perceptions. Her studio space in Little Italy is a dynamic environment where she frequently works with CIA alumni on her exhibitions. Recently she has shown throughout the country at several galleries in New York City, at the Museum of Contemporary Art in Cleveland, Akron Art Museum, and at the Peabody Essex Museum in Salem, Massachusetts.
On the suburbs : Kabot’s work is influenced by the visually repetitive environment of her hometown in the Detroit suburbs.
On taking walks: Taking note of architectural details and quirky decorations on local buildings keeps Kabot and her dog Sophie busy during daily walks.
On creative boundaries : Make a strict set of rules for each work and follow it. It’s easier to be creative if you have tight boundaries.
On getting there: Find the right medium in which to work and to hone your work; tighten it to such a point that it seems impossible to have said it any other way.
Kasumi Associate Professor: T.I.M.E.–Digital Arts
Having lived in both Tokyo and Germany, Kasumi places a great value on experiencing other cultures and seeing the world from their lens. “The rhythm of the language is hugely influential; each culture has different senses of timing and aesthetics. And living in different countries gives one a spectacular vantage point from which to observe your own country,” she says. Kasumi is a leader in the field of time-based art. Her videos synthesize film, sound, literature, and
live performance; uniting each and weaving them into a variety of combinations and configurations through video technologies. Her work has shown throughout the world from Lincoln Center with The New York Philharmonic to Guadalajara, Mexico and premiered closer to home with the Cleveland Orchestra. This experience seeps into the classroom as Kasumi encourages students to master the latest tools and techniques—actively putting theory into practice.
Dominic Scibilia Department Head: Illustration Professor: Illustration Cleveland Institute of Art, BFA
Successful illustrations are the result of excellent artistic skills, polished communications, and seasoned problem-solving abilities. That is why Dominic Scibilia builds into his curriculum opportunities to develop each of those critical skills. “The passion is the same as you’ll find with fine artists; the commitment is the same. But the nature of the work is different in that illustrators are given problems to solve and they work collaboratively with editors, publishers, art directors, designers, copy writers, and others,” Scibilia says.
Scibilia began his career at CIA in 1980 after working at American Greetings, E & R Graphics, and as owner of his illustration studio, Art Plant Inc. His work has been published in American Illustration and his awards include the Advertising Club of New York (Andy Award) and Art Directors Club of Cincinnati. He continues to freelance for clients that include Oberlin College and Cleveland Independents. Scibilia’s recent NOISMaker award from the Northern Ohio Illustrators Society confirms his deep roots in Cleveland—roots that have sprouted extraordinary real world experience for his students.
The Creative Edge As lifelong learners and practicing artists, CIA faculty will keep you on the creative edge. Each year many of our faculty apply to and are accepted into some of the most prestigious national and international residency programs. Generally completed over the summer, these programs give faculty a chance to explore and refine their technique or develop additional depth in their art and design. What they gain from these enriching residencies finds its way back into the classroom— their experience becomes your experience. Take a look at some of the residencies our faculty have attended over the past two years. • • • • • • •
• • •
• • • •
Burren College of Art in Ireland Performing Arts Center in Calais, France Dieu Donne Papermill in New York Sculpture Space in Utica, NY Swarm Gallery in Oakland, California Banff Centre in Alberta, Canada Artists’ Enclave at I-Park in East Haddam, Connecticut Headlands Center for the Arts in Sausalito, California Caldera, in Portland, Oregon Hambidge Center for Creative Arts & Sciences in Georgia Roswell Artists in Residence Program in New Mexico Nantucket Island School of Design and the Arts Camac Centre d’Art in Marnay-sur Seine, France Fachhochschule University of Applied Sciences in Schwaebisch Hall, Germany H aystack Mountain School of Crafts in Deer Isle, Maine Northern Clay Center in Minneapolis
Faculty Partnerships = Student Experience Our location in the heart of the regionâ€™s cultural, educational, and medical district is a catalyst for partnerships and collaborations that are unmatched at any art and design school. And CIA faculty are at the root of these relationships. Our Biomedical Art students work with cancer researchers at University Hospitals and the Cleveland Clinic, Fiber + Material Studies students help families design quilt patches for placement on the AIDS Memorial Quilt. Students in the Visual Arts + Technologies Environment exhibit at the Coventry Center and Communication Design students design participant t-shirts for the Cleveland Marathon. Weâ€™ve detailed a few of the many partnerships from the recent school year. Take a minute to read through each project and get a real sense of the real-world experiences available at CIA.
Sustainable Design CIA students took local, sustainable design to a new level by creating furniture for the future using materials from Cleveland’s past. In partnership with the nonprofit salvaged woodworking firm A Piece of Cleveland (APOC), Associate Professor Dan Cuffaro led junior Industrial Design students in a project to craft furniture using materials reclaimed from deconstructed Cleveland buildings. The students worked with real clients in departments throughout CIA to develop furniture solutions for office and public space. They presented their designs and working prototypes to the CIA community during an exhibit in CIA’s Reinberger Galleries. The best of the designs will be built and used in CIA’s campus unification project, which includes a significant renovation of the Joseph McCullough Center for the Visual Arts and the construction of a new signature building adjacent to the JMC.
iPhone app Every year in his Game Design classes, Knut Hybinette, Assistant Professor of T.I.M.E.–Digital Arts, partners his students with computer science students from Case Western Reserve University. Out of a recent partnership came a new iPhone app, ChromaWaves. Knut also reached out to three producers and a creative director from the nationally renowned video game producer Electronic Arts (EA) to critique the game. They gave ChromaWaves high marks and the next fall it officially launched as an iPhone app.
Fantasy Chess Sets Each year CIA Foundation Professor Barbara Stanczak took her students to the John G. White Collection of chess sets on permanent view at the Cleveland Public Library. And each year she offered students the opportunity to take what they’ve learned in her Foundation Design class and develop a unique chess set of their own. They were required to create a set that included 32 figures, a playing board, and a game storage piece. Through her partnership with the library, Professor Stanczak’s students were given display space in the library to exhibit their final chess sets.
CIA Students + Gauguin When the Cleveland Museum of Art was looking for help in developing the educational component of their world-renowned Gauguin Exhibit in the spring of 2009, they turned to CIA Associate Professor of Printmaking, Maggie Denk-Leigh. Maggie’s students created a video on the lost art of xenographic printmaking—a form of printmaking used in Gauguin’s time. The video played to all visitors of the exhibit— running for more than 3 months. And then the relationship grew. CIA students created a companion exhibit that ran alongside the Gauguin Exhibit. CMA curators asked all CIA students to submit artwork for a caféstyle exhibit, in the Gauguin tradition. Both the student exhibit and the video continued with the Gauguin exhibit as it went international, traveling to Amsterdam with the Gauguin Exhibition.
CIA Faculty Foundation Petra Soesemann Kim Bissett Timothy Callaghan Barbara Chira Lane Cooper Richard Fiorelli Kidist Getachew Sarah Kabot Adam Kadar Kevin Kautenburger Jimmy Kuehnle Scott Ligon Steven McCallum Thomas Nowacki Lorri Ott Sai Sinbondit Mary Jo Toles Charles Tucker Royden Watson Tommy White Adri Wichert Christian Wulffen
Liberal Arts Mark Bassett Charles Bergengren Shelley Bloomfield David Carrier Diana Chou Katherine Clark Adina Davidson Rita Goodman David Hart Joyce Kessler Diane Lichtenstein Olatubosun Ogunsanwo Jonathan Rosati Gary Sampson Franny Taft Dan Tranberg Allen Zimmerman
Animation Megan Ehrhart Kristen Baumlier-Faber Nicholas Economos Knut Hybinette Kasumi Sarah Paul
General Studies Kaja Tooming Buchanan Kristin Thompson-Smith
Communication Design Mari Hulick Lizzy Lee Eugene Pawlowski Christopher Ramsay Danielle Rini-Uva
Biomedical Art Amanda Almon Beth Halasz Thomas Nowacki Ross Papalardo David Schumick Ceramics William Brouillard Judith Salomon
Drawing Sarah Kabot John Powers Royden Watson Enamel Gretchen Goss Fiber + Material Studies Christina Cassara Bill Lorton Game Design Knut Hybinette Kristen Baumlier-Faber Nicholas Economos Megan Ehrhart Kasumi Robert Kelemen Sarah Paul Glass Brent Kee Young Sungsoo Kim Illustration Dominic Scibilia John Chuldenko Robert Kelemen Larry Oâ€™Neal
Industrial Design Dan Cuffaro Matt Beckwith Carla Blackman Ed Covert Dennis Futo Bob Martinez Douglas Paige Anthony Santarelli Adrian Slattery
Photography Barry Underwood Matthew Fehrmann Nancy McEntee Mary Jo Toles Michael Wallace
Interior Design Michael Gollini Sherri Appleton George Gatta Scott Richardson Garrett Thompson Laura Wolf
Sculpture Charles Tucker Kevin Kautenburger Saul Ostrow
Jewelry + Metals Kathy Buszkiewicz Matthew Hollern Painting Lane Cooper Saul Ostrow Dan Tranberg Tommy White
Printmaking Maggie Denk-Leigh Jen Craun
T.I.M.E.â€“Digital Arts Megan Ehrhart Kristen Baumlier-Faber Nicholas Economos Knut Hybinette Kasumi Robert Kelemen Sarah Paul Video Barry Underwood Kristen Baumlier-Faber Nicholas Economos Megan Ehrhart Knut Hybinette Kasumi Robert Kelemen Sarah Paul
Yes, it’s true—the lives of artists and designers are amazing and our alumni tell that story through their work and accomplishments. For nearly 130 years, CIA alumni have launched incredible careers, prolific studio practices, and innovative design firms. From the American Da Vinci, Viktor Schreckengost ’29, to illustration grad Marc Brown ’69, to groundbreaking painter Dana Schutz ’00 and industrial design grad Brian Peterson ’09—if their names don’t seem familiar, their work will. Take a look through the following pages, see what they’ve accomplished, and meet some of our more recent grads. We also recently caught up with some alumni in their Cleveland, New York, and California studios. Take a look at their videos and see how they’ve built their creative careers at cia.edu/alumniprofiles.
Mark Reigelman Scu lpt u re 2 0 0 6
Thu Tran Gla ss 2 0 0 5
Valerie Mayen I l lu st rat ion 2 0 0 5
Photo: Gu s Chan , T he Plain D ealer
Viktor Schre cken gost D esi g n 192 9
John Spirk + John Nottingham I ndu st r ia l D esi g n 1972
Julian Stanczak Pa i nt i n g 19 5 4
Charle s Salle e A r t Educat ion 1938
Marc Brown D raw i n g 1969
Scott Richardson I nter ior D esi g n 1991
Christi Birchfield P r i nt ma k i n g 2 0 0 6
Kristen Cliffel Cera m ics 1990
Ben Gras so Pa i nt i n g 2 0 0 4
Dana Schutz Pa i nt i n g 2 0 0 0
Charlotte Be ckett Scu lpt u re 2 0 02
Derek He s s P r i nt ma k i n g 1988
campus map CIA 1 Gund Building 2 McCullough Center 3 Taplin Hall Resources 4 CWRU Bookstore 5 Utrecht Art Store Food 6 Coffee House 7 Mamma Santaâ€™s 8 Prestiâ€™s Bakery 9 Qdoba Mexican Grill 10 Chopstick Chinese Restaurant 11 Falafel Cafe Culture 12 Cleveland Botanical Garden 13 Cleveland Museum of Natural History 14 Severance Hall (Orchestra) 15 Cleveland Museum of Art 16 Cleveland Institute of Music Nightlife 17 Coventry 18 Little Italy 19 Downtown Cleveland
H Cleveland Clinic
16 13 P
cleveland + cia campus = your creative hub You are much more than an artist or designer. Maybe youâ€™re a musician too, or an athlete, or a political advocate. So as your classes help transform you into the artist you want to become, you also need a community that supports your growth as a person. Read on to get a feel for where youâ€™ll live, learn, and show off your work as a student at CIA.
Where you’ll live The CIA community surrounds you with creativeminded friends and mentors who will help you find inspiration throughout Cleveland—a city full of cultural energy, ethnic neighborhoods, and an accessible downtown core on our nation’s “north coast.” As part of the country’s 16th-largest metropolitan area, Cleveland is just the right size to offer big-city benefits along with a close-knit feel. For your first year at CIA, you’ll live on campus with your fellow freshmen in Taplin Hall. And you’ll enjoy meals at Case Western Reserve University dining halls through a CWRU meal plan. After your first year, you can move off campus to any of the nearby neighborhoods. You might find an apartment above the storefronts of Little Italy, built a hundred years ago by Italian artisans whose grandchildren still run authentic bakeries. Or you might commute by bike from Coventry Village, where funky shops and restaurants draw a diverse crowd from hippies to hipsters.
Here, you’re close to some of the city’s best food and entertainment. Grab pizza or cannoli up the hill in Little Italy. Or take in a film at the Cleveland Institute of Art Cinematheque, named one of the country’s best repertory movie theaters by the New York Times. The Cinematheque has made its mark locally and nationally as a unique venue for independent films, foreign flicks, and events for movie buffs. Make sure to travel into downtown Cleveland, just five miles from campus, to tour the Great Lakes Science Center or rock out at the Rock and Roll Hall of Fame and Museum. Are you a sports fan? Cheer on the Cleveland Indians, Cavaliers, or Browns at their downtown stadiums. But as great as our city is, we know you’ll spend much of your time in the studio. That’s why our Office of Student Life organizes activities to make sure you take a break sometimes—whether it’s laser tag, ice skating, or a comedy act. Plus each year you’ll look forward to the wildly creative Halloween costume party and the year-end Pink Pig student picnic.
Where you’ll learn Our campus is located in the cultural heart of the city, known as University Circle. Packed into one square mile are more than 20 of the region’s most prestigious cultural institutions. We consider many of our neighbors to be an extension of our classrooms: Liberal Arts students experience art history at the Cleveland Museum of Art. Game Design students develop prototypes with computer programmers at Case Western Reserve University. And Biomedical Art students study exotic plants and animals in the Cleveland Botanical Garden. We are committed to helping you become an integral part of the greater Cleveland community. So we connect you with opportunities to give back and help out. Last year, for example, some of our students partnered with MetroHealth Medical Center to lead quilt panel-making workshops so local families could honor loved ones through the AIDS Memorial Quilt. And each year some even go on alternative spring break trips—like working with Habitat for Humanity in New Orleans—where they give their time and talents to great causes.
Where you’ll show off your work No matter how much you enjoy your time in the city, though, we never forget why you’re at the Cleveland Institute of Art: to become a practicing artist or designer. You need not only instruction and inspiration, but also real-world experience and exposure. So we offer multiple opportunities throughout the year for you to exhibit on campus and around town. You’ll become a pro at presenting your work and you’ll build ties along the way with professionals in Cleveland’s art and design community. Student Independent Exhibition: Each winter, CIA students present their annual Student Independent Exhibition in the Reinberger Galleries. Organized, promoted, and curated entirely by students, this juried exhibition showcases work from across CIA’s majors—and it offers community members the opportunity to acquire your work for their own collections.
BFA Thesis Exhibition: Preparation for your capstone BFA review threads throughout your entire senior year. You’ll develop a concept at the beginning of the year and have mid-year progress reviews before winter break. Finally, in BFA week at the end of the spring semester, you’ll display your thesis exhibition and present an hour-long defense of your mature body of creative work. Spring Show: This campus-wide student exhibition presents an unparalleled range of ideas, materials, and technologies to the University Circle community. The artwork is displayed at various Cleveland locations organized by Environments, or groups of majors: Foundation, Design, Craft + Material Culture, Integrated Media, and Visual Arts + Technologies. Best of all, many employers and collectors visit the spring show to see your work.
Studio Spaces: We give all students their very own studio space to customize. You’re free to fill it with whatever inspires you—posters, paint, tools, magazine cut-outs, t-shirts, stuffed animals, pictures of friends—or nothing at all. And each department proudly displays student work throughout its studio area. Community Partnerships: Many of our neighboring institutions partner with us to host student-run shows or shows that include your artwork or designs. For instance, three times a year, an art history graduate student from Case Western Reserve University curates an exhibit at the Cleveland Foundation featuring the work of CIA students. Our students’ artwork hangs in the Mandel Building on the CWRU campus. And the Progressive Art Collection, a surprisingly extensive contemporary art collection supported by the chairman of Progressive Insurance, offers internships to our students and often acquires their artwork.
A Personal Approach
See for Yourself
Applying to a college can be a daunting task. That’s why we believe very strongly in providing a personal approach at this most important time of your life. We encourage you to contact us early in your college search so that we can help you prepare the best possible application.
Visit us! It’s not required, but we encourage it and welcome the opportunity to meet you and review your portfolio in person. When you visit, you can tour our campus, meet our faculty artists, and see our students at work in their own studio spaces.
Contact us and we’ll put you in touch with an Admissions Counselor. They’ll answer any questions you have and confirm if your application and portfolio meet our submission requirements. In addition to your portfolio, you will be assessed on your academic and leadership potential.
To ask questions or schedule a visit, call us at 1.800.223.4700, email firstname.lastname@example.org, or go to cia.edu/admissions.
Your Application Includes:
1. The application form (available online at cia.edu/admissions)
To receive the maximum consideration for admission, financial aid, and merit scholarships, you should adhere to the following application deadlines for the fall semester:
2. The $30 application fee 3. A personal statement outlining why youâ€™re applying 4. High school/college transcripts 5. A letter of recommendation from an art teacher or counselor 6. Your scores on the SAT or ACT 7. Your portfolio
Early Action 1: December 1 Early Action 2: January 15 Regular Decision: March 1 To receive maximum consideration for financial aid, your financial aid applications should be submitted by March 15 of the applicable year. If you want to compete for mid-year (spring semester) scholarships, you must complete your application no later than January 1.
Your Portfolio Your portfolio is the cornerstone of your application to the Cleveland Institute of Art and is a significant part of the admission decision.
We consider your portfolio to be an important asset in the development of your career. It informs us of your artistic experience, education, and talent. Our Admissions Committee will evaluate your portfolio to assess your technical abilities, conceptual problemsolving skills, and use of your chosen media. Youâ€™ve spent a long time preparing for this moment and the following guidelines will help you to create a portfolio that best reflects your work. Portfolio Review Before you apply, you can schedule an appointment with one of our Admissions Counselors for a preliminary portfolio review. An optional campus visit and appointment with one of our counselors can provide feedback on your current work and guide you as you work toward your best possible portfolio. A Complete Application Your portfolio is one of several pieces that make up a complete application for admission. Additional requirements, including your academic credentials, personal statement, and letter of recommendation, will be considered when your application is complete.
Building Your Portfolio Your portfolio must be submitted in CD or DVD format, or if you wish to submit your portfolio online, please contact the Office of Admissions for assistance. We do not accept actual artwork of any kind. Your portfolio should include no less than 12 and no more than 20 pieces of your original artwork. Please do not send more than 20 pieces. This number will give us enough information to make an accurate assessment of your abilities. At least four of those pieces must be drawings from observation. Observational drawings include still life, gesture, or figure drawings, portraits, and landscapes. We encourage you to feature your strongest pieces made in your junior and senior years. Portfolio pieces can take many forms including (but not limited to) drawings, paintings, prints, photographs, sculptures, mixed media, found-object pieces, computergenerated works, illustrations, animations, and clay, metal, or glass objects.
CD or DVD Label disc and sleeve with the following:
• Applicant’s full name • Home address • Phone number • Email address
1. Individual files should be in JPEG (.jpg) format with a file size not exceeding 1MB each. 2. Animation or video work must be submitted in either QuickTime (.mov) format or Windows Media Video (.wmv) format. 3. It is preferable that images be assembled and presented in a slide show format, using PowerPoint, Acrobat, or another slide show application. 4. Please submit a numbered list in Microsoft Word on the disc with the title, size, medium, and a brief description of each piece. 5. Please do not stick any labels to the front of the disc; mark directly on it with permanent marker.
Go to cia.edu/admissions for more information on photographing your work and preparing your portfolio. Or contact an admissions counselor at email@example.com or 1.800.223.4700.
Determining a Sequence The order in which you present your work can have a significant effect on your portfolio review, therefore we suggest you end your presentation with your strongest piece. Relationships in color, media, composition, and concept can link one piece to another and help your portfolio flow cohesively.
Source Material Make an effort not to include work copied from photographs or other published works. These generally do not make strong portfolio pieces. If you use source photos, try not to use them as the sole inspiration for your work.
Note: No application items will be returned and it is recommended you keep an original copy of your submission for your records.
Financing Your Education Your education is an investment in your future as an artist and when you enroll at the Cleveland Institute of Art, you’re getting the very best education. Our Office of Financial Aid is committed to helping you find ways to close the gap between the cost of attending CIA and your ability to fund this education. As you begin to make important choices, please keep in mind: 98% of CIA students receive financial assistance.
We work with you to craft a personalized financial aid package that combines grants, scholarships, loans, and work study. Sources of this funding include CIA, federal, state, and private programs. Once you have received an acceptance letter from CIA you may be eligible for federal and state financial aid if you: • are
a U.S. citizen a high school diploma or general equivalency credentials (the GED) • h ave registered for the draft if you are a male between ages 18 and 26 (see sss.gov) • maintain satisfactory academic progress • complete the 2012–13 Free Application for Federal Student Assistance (FAFSA) • have
If you are a U.S. service member or veteran who qualifies for Post-9/11 GI Bill funds, CIA offers a significant amount of matching funds through the Yellow Ribbon Program. For details, contact us or visit gibill.va.gov.
Determining Your Need-Based Eligibility The Institute awards your financial aid package according to your need-based eligibility, which is calculated by subtracting your expected family contribution (EFC) from your cost of attendance. Read more about this calculation on the next page. Our review process for financial aid will begin once we receive two important pieces of information: • Your
completed 2012–13 CIA Application for Financial Aid, found under the Forms, Publications and Links section of the Office of Financial Aid website at cia.edu/financialaid
Results: the results of your 2012–13 Free Application for Federal Student Aid (FAFSA), a federally administered application found at fafsa.gov. CIA’s FAFSA code is 003982. The priority deadline to submit the FAFSA is no later than March 1, 2012.
Through the FAFSA process you will be assigned an expected financial contribution (EFC). Your EFC
I ndirect costs are expenses not charged to your CIA account, such as books and supplies, transportation, personal items, and other expenses. Indirect costs are considered part of your overall cost of attendance (COA) budget to determine financial aid eligibility.
is based on a standard formula established by Congress and is used as a measure of your family’s financial strength. Because your award is based on your EFC and the date your FAFSA is processed, it is important to complete the FAFSA as soon as possible.
Putting Costs into Perspective
D irect costs are billed directly from CIA. Direct costs include tuition, institutional fees, and oncampus room and board (off-campus room and board are considered indirect costs).
2011-12 Cost of Attendance Tuition
Your Cost of Attendance (COA) includes more than tuition and housing bills. Our financial aid calculations account for costs that are both direct and indirect:
be daunted by the size of your COA! You can reduce these figures by combining multiple sources of financial aid: scholarships, grants, workstudy, loans from federal, state, or private sources, and scholarships and grants from CIA.
Direct Costs Subtotal
Books & Supplies (Estimate)
Indirect Costs Subtotal
Cost of Attendance Total
Transportation expenses can be included in your cost of attendance. We estimate the annual cost of travel to be up to $1,425 depending upon how far you live from CIA. Personal expenses (laundry, haircuts, cellphone service, medicine, toiletries, bedding, entertainment, electronics, etc) can also be included in the cost of attendance. The estimate of annual cost of personal expenses is up to $1,986. If these amounts match your personal situation, then you would add them to the overall cost of attendance listed above, bringing your estimated cost of attendance up to $50,697. The cost of attendance for 2012–13 will be available at cia.edu/financialaid as soon as tuition, fees, room, and board are officially approved by the Board of Trustees. Note that if you receive financial aid that exceeds your direct costs, you will be refunded the excess to help pay for your indirect college expenses.
Resources for Tuition Support CIA–funded financial aid is just one avenue of support that you can apply to your overall tuition costs. You can pursue funding through private scholarships, state and federally funded financial aid programs, and private education loan programs. A brief discussion of each area is contained below along with additional references where you can find further explanation and opportunities.
Scholarships Scholarships are a source of funding that do not need to be repaid. • CIA
Merit Scholarships: Scholarships awarded by CIA are restricted to tuition and do not need to be repaid. They are awarded on the basis of academic merit and the evaluation of your portfolio. Your total amount of your CIA merit scholarship, CIA departmental or honor awards, CIA need-based grants, and any other source of funding restricted to tuition cannot exceed the amount of tuition each academic year.
are automatically considered for CIA meritbased scholarships when you apply for admission to CIA.
are no extra application procedures for CIA merit-based scholarships. Many students combine CIA merit-based scholarships with other financial aid to reduce their cost of attendance.
merit scholarships are renewable for up to three additional years if you maintain the minimum
cumulative grade point average specified in your scholarship award letter from the Office of Admissions and enroll as a full-time student each academic year. • External
Scholarships: We encourage you to find and apply for external scholarships to supplement any CIA-based aid you might receive. To be considered for external scholarship support, you will need to contact the funding organization and follow their application procedures. For example, you might apply for a scholarship from the Cleveland Foundation. You can find a list of external scholarship resources at cia.edu/financialaid.
Grants You do not have to repay grants, which are based on financial need. Once you complete your FAFSA, you are automatically considered for grant funds. There are no additional application procedures for grant consideration. The following grants are available through Institutional, Federal, and State of Ohio Financial Aid programs.
ederal Supplemental Educational F Opportunity Grant: This campus-based grant program offers limited funding to Pell Grant– eligible students who demonstrate exceptional financial need as determined by the FAFSA.
Pell Grant: The government uses your FAFSA to determine your eligibility for this grant.
IA Grants: The Cleveland Institute of Art C awards need-based grants to students with exceptional talent, academics, and financial need, based on information submitted to the offices of Financial Aid and Admissions. Your total amount of CIA grants, departmental or merit-based CIA awards, and any other source of funding restricted to tuition cannot exceed the amount of tuition each academic year. You must have a minimum 2.0 cumulative GPA for your grant to be renewed. hio College Opportunity Grant (OCOG): O This grant is based on Ohio residency, first college start date, enrollment status, an expected family contribution calculated through the FAFSA of less than or equal to $2,190, and a household income no greater than $75,000. You must complete the CIA Financial Aid application prior to the start of your first year at CIA.
Work Study The Federal Work-Study Program allows you to earn funds for your educational expenses by working at a part-time campus-sponsored job. To qualify for this federally funded program, you must meet the on-time priority deadline and demonstrate sufficient financial need on the FAFSA each academic year. It is your responsibility to apply for a designated work-study job, which you can find posted on College Central, the CIA Career Center’s online job board. Once you have located a job opening, interviewed, and been selected, you will work with the Office of Financial Aid and your supervisor to complete the required paperwork before you begin working. Loans An education loan is a form of financial aid that must
be repaid, with interest. Education loans come in three major categories: federal student loans, federal parent loans, and private education loans (also called alternative loans). When it comes to education loans, parent PLUS loans and private student loans are often the primary choices for additional financing options of a college education. •
illiam D. Ford Federal Direct Loan: W Eligible first-year dependent students may qualify for up to $5,500 in this low-interest student loan program. Direct loans are either subsidized or unsubsidized. Subsidized Direct Loans have the interest paid by the Federal Government while the student is in school. Unsubsidized Direct Loans accrue interest while the student is in school, but students aren’t required to begin repayment until after they leave school. CIA uses information from the FAFSA to determine eligibility for a subsidized or unsubsidized Direct Loan. Independent students may be eligible for additional amounts through the Direct Loan Program. Payment of Direct Loans is deferred until six months after graduation from CIA.
D. Ford Federal Direct PLUS Loan: Parent Loan for Undergraduate Students (PLUS) Loans are low-interest loans a parent borrows to assist his or her child attending CIA. PLUS Loans may either be paid back while the student is in school or deferred until six months after graduation. A PLUS Loan is a cost-effective solution for parents to help keep their student’s debt burden as manageable as possible. The interest rate for Federal PLUS Loans is 7.9%. For more information on PLUS Loans, go to studentloans.gov and click the Direct Loans overview under the Learn More tab.
A lternative/Non-Federal/Private Loans: Private lending institutions offer a variety of student loan programs. CIA works with private banks and can assist you with information on these loans.
Academic Services At the Cleveland Institute of Art we are committed to providing our students with the best resources, inside and outside the classroom. Our Writing and Learning Center, Career Services, and Gund Library are just three of the many ways we supplement learning and studio practices.
Writing and Learning Center The Writing and Learning Center is a learning support facility jointly sponsored and administered by the Liberal Arts Environment and the Academic Services Office of the Cleveland Institute of Art. At the Center youâ€™ll receive instructional support for baccalaureate degree program courses involving writing and research. In addition weâ€™ll provide you with guidance on time management and study skills along with other areas that lead to success in academic life. Throughout each semester you can participate in scheduled tutorial hours or a rotating series of small-group workshops on specific aspects of the writing process. We welcome you to drop in at any time during Center hours or you can make an appointment to work with tutors in preparing your academic assignments.
Career Services We take your career very seriously—whether you choose to build a studio practice, join an established business, or continue your studies toward an advanced degree. We are here to provide tools, resources, and strategies to help you reach your goals. We maintain excellent partnerships with employers in the art and design world that result in sought-after internships and real-world experience. We recommend that you pursue internships during your junior and senior year. You’re encouraged to contact us a semester before you’d like to pursue an internship so that we can assess your skills and determine what opportunities are best for you. At the CIA Career Center we will: • Help
you obtain a credit- or non-creditbearing internship
an on-campus recruiting program
• C onnect
you with CIA alumni for career exploration and information
one-on-one career advising
with resume and cover letter writing
on interview techniques and job search skills
with projects and assignments in the Professional Practices course
handouts on job search strategies, networking, and interview techniques
access to College Central, an online job board
CIA alumni are an important part of our community and the Career Center is here for you long after graduation. Contact us at any point in your career for one-on-one career advising, coaching on interview techniques and resume writing, and tips on job search strategies and networking. In addition, you’ll keep your access to our online job board, College Central, once you’ve graduated.
Gund Library Putting art in context, researching the artists that came before you, and learning more about historic movements in art and design are important building blocks of an art and design education. CIA’s Gund Library is dedicated to the specific research needs of the visual artist, designer, and craftsperson. Our collections contain more than 45,000 books, exhibition catalogs, and CD-ROMs; 145 current periodical subscriptions; over 125,000 art and architecture slides as well as access to a broad range of digital images; 1,600 sound recordings; 600 videotapes, DVDs, and films; a picture file for visual reference; access to online databases and full text resources; and an extensive collection of artists’ books (books made by artists as art). The library supports CIA’s accredited degree programs, with a special focus on providing materials for studio-intensive instruction. The library documents the major participants, events, and trends of international contemporary art, photography, craft, and design; includes theory and technical information as well as visual resources; and makes available a variety of professional, legal, and business information for artists. Our collection of contemporary art publications ranks with the best American colleges and universities. The Institute’s collection of artists’ books, begun in 1982, is a nationally renowned collection. Dating from the 1960s to the present, this collection of 1,300 books represents the range of books made by artists from North America and Western Europe. Some of the classic books in the collection are from artists such as Carl Andre, Robert Barry, Douglas Huebler, including Edward Ruscha’s Twenty Six Gasoline Stations, Daniel Spoerri’s Anecdoted Topography of Chance, Ray Johnson’s Paper Snake, Vostell and Higgins’ Fantastic Architecture, Agnes Denes’ Map Projections, and Martha Rosler’s Service.
next steps 1 voice your passion Share this book with parents, friends, and teachers.
2 ask us Call us at 1.800.223.4700. Weâ€™ll connect you with an admissions counselor to answer your questions, or connect you with one of our student ambassadors.
3 make the trip Schedule a visit so we can show you all that CIA and Cleveland have to offer you.
4 prepare portfolio + application Be sure to get a copy of our portfolio tips prior to submitting your portfolio.
5 apply: cia.edu/admissions Weâ€™ll see you in August.
Color Photography: Robert Muller ’87 / Design: TWIST Creative, Inc. / Cover Art: Joseph Minek ’11
The Cleveland Institute of Art
non-profit org. u.s. postage
11141 East Boulevard Cleveland OH 44106 USA cia.edu
cleveland, OH Permit No. 3639
Address Service Requested
Twist Creative 1985 West 28, Second Floor Cleveland, OH 44113
Majors: Animation Biomedical Art Ceramics Communication Design (Graphic Design) Drawing Enamel Fiber + Material Studies Game Design Glass Illustration Industrial Design Interior Design Jewelry + Metals Painting Photography Printmaking Sculpture T. I . M . E .â€“Digital Arts Video
Majors: Animation Biomedical Art Ceramics Communication Design (Graphic Design) Drawing Enamel Fiber + Material Studies Game Design Glass Illustration Industrial Design Interior Design Jewelry + Metals Painting Photography Printmaking Sculpture T. I . M . E .â€“Digital Arts Video
Cleveland Institute of Art
non-profit org. u.s. postage
11141 East Boulevard Cleveland OH 44106 USA cia.edu
cleveland, OH Permit No. 3639
Address Service Requested
Twist Creative 1985 West 28, Second Floor Cleveland, OH 44113
cleveland institute of art
cleveland institute of art