CIA ViewBook

make something

6 introduction 14 majors & programs 16 24 32 40 48 56 64 72 80 88 96

Foundation Liberal Arts Animation Biomedical Art Ceramics Communication Design Drawing Enameling Fiber + Material Studies Game Design Glass

104 112 120 128 136 144 152 160 168 176

Illustration Industrial Design Interior Design Jewelry + Metals Painting Photography Printmaking Sculpture T.I.M.E.–Digital Arts Video

186 our faculty 204 cia alumni 218 campus map 222 student life 230 get started 230 232 234 236 238 240

Apply Your Portfolio Financing Your Education Resources for Tuition Support Academic Services Next Steps

242 index

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 128-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.

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CIA CIA is dedicated to teaching artists and designers.

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With 19 majors that encompass design, visual arts, craft, and integrated

Our resources are chosen for your success—inside and outside the

media, we’ve built a hub of creative energy that can take you daily

classroom. We bring in visiting artists that influence you, offer tools

into the studios and classrooms where you will learn, create, change,

that inspire innovation, and structure our environments for your

and lead an artistic life.

creative exploration.

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A 9:1 student to faculty ratio At CIA you have access to some of the most creative minds in art and design—our faculty. With a 9:1 student to faculty ratio, our close-knit community encourages collaboration. CIA faculty are practicing artists who will mentor you and bring you into their network. They’re famous for engaging students one-on-one, in hands-on studio practice and dynamic classroom learning.

CIA faculty are collaborators who reach across disciplines to engage their students in new techniques and the latest in technology and to share the breadth of knowledge in other majors. For example, if you choose to major in Communication Design, you may apply your graphic design skills to package design for our Industrial Design students. Or, if you are a Glass major, you may work with our Jewelry + Metals majors to add a metalsmithing technique to your projects. Learn more about our faculty, their artwork and approach to classroom and studio learning on page 186–203.

As a dedicated college of art and design, we are focused on the ultimate goal of your future career—making a living doing what you love to do. Whether you dream of life as a studio artist or see yourself in a design firm, our reputation as an outstanding educator prompts many local and national organizations to contact us with internship and partnership opportunities. Each major includes a focus on Professional Practices and our Career Services department cultivates internships and offers all the services necessary to launch students into the professional world of art and design. We also reach out to develop relationships for CIA students who want to bring classroom experience to life in the real world.

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Located in the heart of Cleveland’s cultural district, our campus offers the experience of a true artist’s community. Our neighbors, collaborators, and partners are on the creative edge of culture, technology, and education—and so are we. At CIA you’ll live in a mix of urban energy surrounded by University Circle, a park-like setting that houses the region’s most prestigious cultural, academic, technology, and health care organizations.

Within two square miles are the world-renowned Cleveland Museum of Art, Case Western Reserve University, Cleveland Clinic, Cleveland Botanical Garden, Cleveland Orchestra and dozens of museums, galleries and ethnic neighborhoods.

Read more about our neighborhood and campus life on pages 218–227.

If you like what you see and read, visit us. Walk though our campus, see students working in their own studio, talk with faculty, and share your portfolio. Sign up for a fall or spring Open House or tailor your own visit.

Contact us at 1.800.223.4700 to set up an individualized visit, or sign up for one of our Open Houses at cia.edu/openhouse.

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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.

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majors & programs

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.

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 fouryear 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: Design; Craft + Material Culture; Visual Arts + Technologies; and Integrated Media. 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 Exhibit. Not many art and design colleges require this capstone 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.

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Our Environments are:

Visual Arts + Technologies Drawing, Fiber + Material Studies, Painting, Printmaking, Sculpture Design Communication Design, Industrial Design, Interior Design Craft + Material Culture Ceramics, Enameling, 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.

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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.

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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 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 and design areas. The elective provides exposure to help you make an informed choice about your major and your future career path.

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Courses: Digital Art and Design I & II Drawing I & II 2D Design 3D Design Design Woodshop Lab Color

Freshman Environmental Electives: Craft + Material Culture • Integrated Media • Visual Arts + Technologies • Design •

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Liberal Arts

Courses:

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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The Liberal Arts Environment cultivates the intellectual development of our students as they move through each of our degree programs.

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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.

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In addition, as you complete rigorous assignments in analytical essays and research papers, you’ll become a strong writer, able to convey your point of view in tandem with understanding diverse perspectives.

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R ita G oo d m a n Fac u lt y

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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.

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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 Architecture and Interior Design Advertising Images hoto History I: Still and Moving Images: P The Beginning Photo History II: Still and Moving Images Since 1900 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

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Literature of the Americas 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.

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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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C a rl Pop e Vi s it i n g A r t i s t

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Courses:

Animation

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2D/3D Compositing 3D Modeling • Digital Art and Design I & II • Experimental Video • Introduction to 3D Animation • Introduction to Animation • Introduction to Media Production and Integration • Motion Graphics • Narrative Production I & II • Narrative, Sequence and Storyboarding • Screenwriting • Sound Design • Texture and Lighting • Video I & II • Visual Organization and Media • Web Media Production • BFA Preparation • BFA Thesis and Exhibition •

As a student in CIA’s Animation major you’ll harness traditional and digital technologies to create narrative and experimental animation that brings both characters and environments to life. Through coursework that integrates both fine art and the latest industry production techniques, you will develop the skills necessary to excel in an animation career.

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. Enhance your character design as you study the development of personality in motion, lighting for small scale of digital environments and sound related to motion and sync. Our 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.

Freshman Environmental Elective • Integrated Media

Careers:

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Commercial animator Fine artist/animator • Independent animator • Conceptual animation • 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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As an Animation student, you’ll build a strong foundation in the digital arts while understanding that technology is the means, not the end. For that reason, your coursework will also focus on the relationship between art, design and technology. You’ll also develop an understanding of historical, cultural and social framework of animation and digital arts.

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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 motion capture system, a green-screen 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 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

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.

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 a lot of flexibility that allows you 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.

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Visual Organization and Media Narrative, Sequence and Storyboarding • 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 • 3D Bioforms: Media in Motion • Veterinary Illustration • Interactive Narratives in Biomedical Art • 2D/3D Modeling for Illustration • 3D Textures, Mapping, Digital Lighting and Rendering • Forensic Modeling and Reconstruction • 2D/3D Compositing • Bioart Ethic and Image Interaction • Macro to Micro Simulation and Story • Visual Mechanisms and Actions • Surgical Narratives in Science and Medicine • BFA Thesis Research • BFA Thesis and Exhibition • Principles of Biology • Comparative Vertebrate Anatomy • Anatomy and Physiology I & II •

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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.

Microbiology, Embryology or Histology

Freshman Environmental Elective • Integrated Media

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Ceramics

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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

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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.

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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.

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Courses: 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 ajor Day: Special Projects M dvanced Handbuilding A he Alchemy of Fire and Clay T culpture in Clay S he Narrative Vessel: T Basic Ceramic Fabrication ajolica, The Painted Pot M Raw Materials rchitecture-based Ceramics A and Special Projects Nature and Structure able for Two: The Evolving Rituals T of Food, Utility and Community he Vessel and Utility T urface and Content S FA Statement and Exhibition B

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.

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Courses:

Design for Communication I & II Typography I & II Intro Photography Advanced Design Studio Production Graphics for Design Graphic User Interface I & II Information Architecture The Handmade Book Advertising Art Direction Contemporary Design Studio Publication Design Limited Edition Portfolio Production Visualizing Information CIA Design Factory Bachelor of Fine Arts Thesis Bachelor of Fine Arts Seminar

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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Careers:

Book and publication design Advertising Web and interactive design Package and 3D design Exhibition design Film and broadcasting design

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

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Drawing today is one of the most creative and dynamic majors available

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in the field of art. It encompasses a wide range of forms and approaches

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including working on paper in various mediums, to installation, collage,

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zines and graphic novels.

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As a student in CIA’s Drawing major, you’ll use traditional and non-traditional 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 non-traditional 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.

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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 grant-writing 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. 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.

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Courses: Image and Form I: Visual Literacy Image and Form II: Reproducibility Aesthetics, Style and Content Subject, Content and Form 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 rawing Images: Series, Episodes D and Time 3D Drawing: The Psychology of Space H ybrid Approaches to Drawing and Painting: Digital Media Moving the Line: The Artist as Animator BFA Statement and Exhibition

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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Enameling

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The Institute’s focus on enamel is unique among the

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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 Enameling • The Printed Image in Enamel • Multiples in Enamel: Limited Edition, Production and Series • Enamel in the Public Realm • BFA Statement and Exhibition •

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, Enameling majors at The Cleveland Institute of Art enjoy strong support from both the industry and patrons devoted to the medium.

Freshman Environmental Elective: • Craft + Material Culture

Our Enameling 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 Enameling students are known as innovators who create using diverse methods, styles and inspirations.

Careers: As an Enameling 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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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 Enameling, 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.

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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 Enameling 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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Courses:

Fiber + Material Studies

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Image and Form: Visual Literacy Image and Form II: Reproducibility • Aesthetics, Style and Content • Subject, Content and Form • Artist as Producer • Art in the Global Context • Repeat Pattern Design • The Extended Body: Costume, Prosthetics and Extensions • Intro Fiber: String, Felt, Thread and Ideas • Silkscreen • Weaving Patterns: Collective Activity • Fashion: Soft Architecture for the Body • Fiber Seminar: Topics in Contemporary Art/Culture • Material Matters • Custom Micro-Computing: Smart Objects, Electric Handicrafts and Responsive Environments • Creative Resistance: Performance and Media Installation • Installation: The Empire of the Senses • Performance Art: Intervention and Spectacle • The Artist and Social Practice • BFA Statement and Exhibition •

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.

Freshman Environmental Elective: Arts + Technologies

• Visual

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.

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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

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.

installation to object-based work.

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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.

Courses:

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2D/3D Compositing Digital Art and Design I & II • Digital Texture and 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 • Narrative, Sequence and Storyboarding • Screenwriting • Sound Design • Video I • Visual Organization and Media • BFA Preparation • BFA Thesis and Exhibition •

Careers: •

Commercial game designer Fine artist game designer • Independent game designer (freelance) • Graduate study • Higher level professional training •

Freshman Environmental Elective:

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

•

Interactive Media

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Storyboard artist

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-theart 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, 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. 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. 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 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 playerfocused 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.

Courses:

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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 Thesis and Exhibition •

Freshman Environmental Elective: + Material Culture

• Craft

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Careers:

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.

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.

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.

Developing a sense of community and collaboration is an important aspect of the program, which is why you will also work with students studying ceramics.

Our student-run 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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Courses:

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Visual Organization and Media Narrative, Sequence and Storyboarding • 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 Thesis and Exhibition •

Freshman Environmental Elective: • Interactive 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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• • • • • • • • • •

Courses: 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 ID Modeling 1.1, 1.2, 2.1 & 2.2 BFA Thesis and Exhibition Design Center-Based Learning

Freshman Environmental Elective: • Design

Industrial 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.

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.

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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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.

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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.

Communications 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

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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.

• • • • • •

Courses: 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 Survey

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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Courses:

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 • Forming and Fabrication • Color • Settings • A lternative Materials for Jewelry • Production • Settings: Advanced and Basic • BFA Statement and Exhibition • Thesis/Professional Portfolio

Jewelry + Metals

• •

Freshman Environmental Elective: • Craft + Material Culture

In CIA’s Jewelry + Metals major, you’ll work with both traditional and contemporary metalsmithing processes to grow as an artist of decorative and wearable art—including jewelry, fashion and small-scale sculpture. The skills, knowledge and broad experiences you collect here will build your confidence to pursue ambitious, intelligent work without compromise.

Careers:

•

Studio: fine and production jewelry Designer • Modeler • Prototype developer • Object maker for interior/exterior home decor and architectural detailing •

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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 technologies 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.

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.

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 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.

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.

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Painting

The Painting department at the Cleveland Institute of Art has a long and illustrious 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.

Courses: •

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Image and Form: Visual Literacy Image and Form II: Reproducibility Aesthetics, Style and Content Subject, Content and Form 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 Day: Medium is the Message M Major Day: Self, World and History ajor Day: Constructing Narratives M

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• •

•

ajor Day: Mechanics of Meaning: Subject, M Form and Content riticism and Studio Practice C opular Culture, Material Culture and the Arts: P A Studio Course Collaboration, Image, Object, Installation, Performance ollage, Assemblage and Installation C ybrid Approaches to Drawing and Painting: H Digital Media FA Statement and Exhibition B

Freshman Environmental Elective: • Visual Arts + Technologies

Careers:

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 MFAs 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, set designers, or creative talent for television shows.

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 the 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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Photography

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.

Courses:

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Visual Organization and Media Narrative, Sequence and Storyboarding • Web Practice and Presence • Mechanics of Digital and Film • History of Photography • Studio Lighting • Editorial Photography • The Fine Art Silver Print • Visual Thinking in Contemporary Photography: Projects/Presentations • Digital Photo Imaging I • Contemporary Color Photography in Theory and Practice • Major Day: Photographic Materials and Processes • Major Day: Conceptual Foundations in Photography • 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 •

Careers:

Your future in photography could include any of the following careers: •

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 •

• Video

II • Methodologies and Practices • BFA Thesis and Exhibition

Freshman Environmental Elective: Media

• Integrated

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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 start-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.

Courses:

Image and Form: Visual Literacy Image and Form II: Reproducibility • Aesthetics, Style and Content • Subject, Content and Form • Artist as Producer • Art in the Global Context • Image Construction, Line and Sequence • The Artist’s Book Now: Narrative and Form • Collaboration Through a Printed Experience • Propaganda: Media, Dissemination, Techniques • Intaglio/Relief • Printmaking Seminar • Expanded Print: New Imaging • The Liberated Print: Investigation of Alternative Methods • BFA Statement and Exhibition

Careers:

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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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Sculpture

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.

Courses:

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Image and Form: Visual Literacy Image and Form II: Reproducibility • Aesthetics, Style and Content • Subject, Content and Form • 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 • BFA Statement and Exhibition •

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Freshman Environmental Elective: Visual Arts + Technologies

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Careers:

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.

You’ll find sculpture-educated artists creating installations, performance pieces, public art, social interventions, site-specific works and earthworks—all in addition to crafting traditional object-based works.

You’ll receive a wide range of support beginning with a faculty of professionals with diverse approaches to art-making and a commitment to mentoring their students. Your beginning level courses in Sculpture will 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 design and 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 while strengthening your in-depth conceptual knowledge of the Sculpture discipline. 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 and maintains a state-of-theart facility with extensive wood and metal working capabilities. And when you arrive at CIA in fall 2011, you’ll also be able to use our newly installed coldcasting facility.

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Courses:

2D and 3D Design Digital Art and Design I & II • 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 • Screenwriting • BFA Preparation • BFA Thesis and Exhibit

T.I.M.E.– Digital Arts

• •

Freshman Environmental Elective: Media

• Integrated

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

Careers: • New

media (electronic arts) practicing artist • Graduate school • Teaching • Curators • Freelance and independent media producer • Museum installation

innovative projects from the world of interactive media.

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We encourage you to experiment as you develop hybridized projects that incorporate technologies that include video, interactive web technologies, photography and animation. 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

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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.

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2D and 3D Design Digital Art and Design I & II • Digital Photography I • Experimental Video • Introduction to Animation • Introduction to Media Production and Integration • Lighting • Motion Graphics • Moving Image in Space • Narrative Production I & II • Narrative, Sequence and Storyboarding • Screenwriting • Sound Design • Video I & II • Visual Organization and Media • Web Media Production •

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.

Courses:

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.

Freshman Environmental Elective: Media

• Integrated

Careers: •

Videographer Editor • Art director •

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Director Director of photography Video and special effects production Production assistant Compositor Production designer 177

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have 14 pairs of shoes in their closet

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Our Faculty Your professors will help define the artist or designer you become— 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. Their work 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 hold numerous patents, have 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.

Their community partnerships become your community partnerships. For their students, they open doors to workshops with visiting artists, internships, partnerships and real-world experience. Take a look at some of our faculty, learn about their own artistic explorations and see the partnerships they’ve built.

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 experience—it is an attribute our alumni always remember, years after graduation.

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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 Baumlier

In her own art, Baumlier 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,

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Chair: Design Environment Department Head: Industrial Design Anne Fluckey Lindseth Professor of Industrial Design The 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.

Chair: Integrated Media Environment Department Head: T.I.M.E.–Digital Arts Associate Professor: T.I.M.E.–Digital Arts California College of Arts and Crafts, MFA

For Kristen Baumlier, 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 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.”

Dan Cuffaro

she uses moving images, sound and choreography in non-traditional 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.

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 usercentered 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 tr ying new restaurants, but my favorite spots to dine out are Pomodoro in Boston’s North End and Momocho in Cleveland’s Ohio City.

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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.

Mari Hulick Department Head: Communication Design Associate Professor: Communication Design Northwestern University, MFA University of Michigan, BA Art Institute of Chicago, Post Baccalaureate

Maggie Denk-Leigh Department Head: Printmaking Associate Professor: Printmaking Clemson University, MFA Printmaking Xavier University, BA Printmaking, Graphic Design and Business

Denk-Leigh teaches 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 projectdriven questions and it reveals the educator as a model of a diligent artist and life long 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.

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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.

Like 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 offhours. “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.

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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.

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

Saul Ostrow

Innovation and tradition find their way into the work of Brent Kee Young, whose contemporary glass has been recognized around the world.

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).

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Brent Kee Young

“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.

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 life long 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.

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On teaching : I am an artist and I speak to the students as artists.

Department Head: Interior Design Associate Professor: Interior Design The Cleveland Institute of Art, BFA, Industrial Design; minor, Interior and Graphic Design

Tina Cassara

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.

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

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Michael A. Gollini

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.

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 trades people.” 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.

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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.”

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

Gretchen Goss

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.

Chair: Craft + Material Culture Environment Department Head: Enameling Professor: Enameling Kent State University, MFA and BFA, Enameling

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.

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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 US 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.

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.

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The Creative Edge As life-long 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.

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• • •

• • • •

•

•

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

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Faculty Partnerships = Student Experience

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, T.I.M.E.–Digital Arts partners his students with computer science students from Case Western Reserve University. Out of last year’s 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 in August 2010 it officially launched as an iPhone app.

Fantasy Chess Sets Each year CIA Foundation Professor Barbara Stanczak takes her students to the John G. White Collection of chess sets on permanent view at the Cleveland Public Library. And each year she offers students the opportunity to take what they’ve learned in her Foundation Design class and develop a unique chess set of their own. They are required to create a set that includes 32 figures, a playing board and a game storage piece. Through her partnership with the library, Professor Stanczak’s students are then given display space in the library to exhibit their chess sets.

Our location in the heart of the region’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 Arts Gallery and Communication Design students design participant t-shirts for the Cleveland Marathon. We’ve detailed a few of the many partnerships from the 2009–10 school year. Take a minute to read through each project and get a real sense of the real-world experiences available at CIA.

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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.

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CIA Faculty General Studies

Liberal Arts

Kaja Tooming Buchanan

Joyce Kessler, Chair

Foundation Petra Soesemann, Chair Kim Bissett Barbara Chira Richard Fiorelli Kidist Getachew Adam Kadar Kevin Kautenburger Scott Ligon Lorri Ott Mark Moskovitz Barbara Stanczak Royden Watson Christian Wulffen

Charles Bergengren Shelley Bloomfield David Carrier Diana Chou Adina Davidson Rita Goodman David Hart Maureen Kiernan Diane Lichtenstein Olatubosun Ogunsanwo Jonathan Rosati Gary Sampson Franny Taft Dan Tranberg Allen Zimmerman

Craft + Material Culture Gretchen Goss, Chair Ceramics William Brouillard Judith Salomon Enameling Gretchen Goss Glass Brent Young Sungsoo Kim Jewelry + Metals Kathy Buszkiewicz Matthew Hollern

Design

Integrated Media

Daniel Cuffaro, Chair

Kristen Baumlier, Chair

Industrial Design Dan Cuffaro Matt Beckwith Carla Blackman Ed Covert Dennis Futo Mike Jaeb Bob Martinez Douglas Paige Anthony Santarelli Adrian Slattery

Biomedical Art Amanda Almon Beth Halasz Thomas Nowack Ross Papalardo David Schumick

Interior Design Michael Gollini Sherri Appleton George Gatta Scott Richardson Laura Wolf Communication Design Mari Hulick Lizzy Lee Michael Lehto Eugene Pawlowski Christopher Ramsay Danielle Rini-Uva

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Photography Barry Underwood Matthew Fehrmann Nancy McEntee Mary Jo Toles Illustration Dominic Scibilia John Chuldenko Igal Hurvitz Larry O’Neal

Visual Arts + Technologies Saul Ostrow, Chair Drawing Sarah Kabot John Powers Painting Lane Cooper Saul Ostrow Tommy White Printmaking Maggie Denk-Leigh Fiber + Material Studies Christina Cassara Bill Lorton Sculpture Charles Tucker

T.I.M.E.–Digital Arts, Animation, Game Design, Video Kristen Baumlier Nicholas Economos Megan Ehrhart Knut Hybinette Kasumi Minkin Sarah Paul

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CIA Alumni

Yes, it’s true–the lives of artists and designers are amazing and our alumni tell that story through their work and accomplishments. For more than 120 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.

This year we caught up with some alumni in their New York studios.

Take a look at their videos and see how they’ve built their creative careers on our website at cia.edu/alumniprofiles.

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Mark Reigelman Scu lpt u re 2 0 0 6

Valerie Mayen I l lu st rat ion 2 0 0 5

Photo: Gu s Chan , T he Plain D ealer

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Thu Tran Gla ss 2 0 0 5

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Viktor Schre cken gost D esi g n 192 9

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Julian Stanczak Pa i nt i n g 19 5 4

Charle s Salle e A r t Educat ion 1938

John Spirk + John Nottin gham I ndu st r ia l D esi g n 1972

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Christi Birchfield P r i nt ma k i n g 2 0 0 6

Marc Brown D raw i n g 1969

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Scott Richardson I nter ior D esi g n 1991

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Ben Gras so Pa i nt i n g 2 0 0 4

Kristen Cliffel Cera m ics 1990

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Derek He s s P r i nt ma k i n g 1988

Dana Schutz Pa i nt i n g 2 0 0 0

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Charollet Be ckett Scu lpt u re 2 0 02

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campus map

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CIA 1 Gund Building 2 McCullough Center 3 Taplin House

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Resources 4 CWRU Bookstore 5 Utrecht Art Store

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Food 6 Coffee 7 Mamma Santa’s Pizza 8 Presti’s Cafe 9 Qdoba 10 Tea House Noodles 11 Falafel Cafe 12 Food Co-op Culture 13 Cleveland Botanical Garden 14 Museum of Natural History 15 Severance Hall (Orchestra) 16 Cleveland Museum of Art Nightlife 17 Coventry 18 Little Italy 19 Downtown Cleveland

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Parking

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University Hospitals

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cleveland + cia campus = your creative hub

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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. 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.

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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.

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.

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 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.

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.

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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.

Coventry Center: You might have a chance to exhibit your work off-campus at this art center, maintained by the Visual Arts + Technologies Environment in former retail space on Coventry Road.

The Coventry Center hosts CIA classes during the week and workshops, artists talks, student-curated exhibitions and public art events on weekends.

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 Peter B. Lewis Collection, a surprisingly extensive contemporary art collection managed by the chairman of Progressive Corporation, offers internships to our students and often acquires their artwork.

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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.

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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.

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.

For details on each part of the process contact an admissions counselor at 1.800.223.4700 or visit our website at cia.edu/admissions.

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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.

To schedule your visit, go to cia.edu/admissions or call the Office of Admissions at 1.800.223.4700.

Submit the following to the Office of Admissions: 1. The application (available online at cia.edu/admissions) 2. The $30 application fee 3. A personal statement outlining why you’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

Important Dates To receive the maximum consideration for admission, financial aid and merit scholarships, you should adhere to the following application deadlines for the fall semester: 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.

Students wishing to compete for mid-year (spring semester) scholarships should complete applications no later than January 1.

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Your Portfolio

CD or DVD Discs should be labeled with the following:

• Applicant’s full name • Home address Your portfolio is the cornerstone of your application to The Cleveland Institute of Art and is a significant part of the admission decision.

We also consider your portfolio to be an important asset in the development of your career. It informs us of your artistic experience, education and talent.

You’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 The Admissions Committee will evaluate your portfolio and will assess your technical abilities, conceptual problem-solving skills and your use of your chosen mediums. Schedule an appointment with one of our Admissions Counselors for a preliminary portfolio review. A campus visit and an appointment with one of our counselors can provide feedback on your current work and guide you as you work towards your best possible portfolio.

• Phone number • Email address

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 CD; mark directly on it with permanent marker.

Additional admission requirements, including your academic credentials, personal statement and letter of recommendation, will be considered upon completion of your application for admission.

Build Your Portfolio Your portfolio must be submitted in CD or DVD format. If you are unable to provide a portfolio in these formats, 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.

1. Individual files should be in JPEG (jpg) format with a file size not exceeding 1MB each.

Go to cia.edu/admissions for more information on photographing your work and preparing your portfolio. Or contact an admissions counselor at: 1.800.223.4700.

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 and/or found-object pieces, computergenerated works, illustrations, animations and clay, metal or glass objects.

Work copied from photographs or other published works do not make strong portfolio pieces. If you use source photos, try not to use them as the sole inspiration for your work. 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 in a cohesive manner.

Note: No application items will be returned and it is recommended you keep an original copy of your submission for your records.

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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

Putting Costs into Perspective Your cost of attendance includes more than tuition and housing bills. Our financial aid calculations account for costs that are both direct and indirect:

I ndirect

costs are items not charged to your CIA account, such as books and supplies, transportation and personal and other fees, are considered part of your COA budget for financial award determinations.

Don’t be daunted by the size of your COA! You can reduce these figures by combining multiple means such as financial aid, student work-study programs, scholarships, grants and loans.

Direct costs are billed directly from CIA. Direct costs include tuition, institutional fees and on-campus room and board (off-campus room and board costs and are considered indirect).

Per Year

Financing Your Education

Congress and is used as a measure of your family’s financial strength. The direct and indirect costs of your CIA education comprise your cost of attendance (COA). Through the FAFSA process you will be assigned an expected family contribution (EFC).

Your eligibility is determined by subtracting your EFC from your COA.

students receive financial assistance Tuition We work with you to craft a personalized financial aid package that combines any available CIAsponsored aid, federal aid, scholarships, loans, workstudy and more. Once you have received an acceptance letter from CIA you may be eligible for federal financial if you: •

a re

•

h ave

•

• •

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) m aintain satisfactory academic progress q ualify for need-based assistance through the Free Application for Federal Student Assistance (FAFSA)

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 supplemental funds through the Yellow Ribbon Program. For details, contact us or visit gibill.va.gov.

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$30,840

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.

Your cost of attendance (COA) includes more than just your tuition and housing bills—take a look at the Cost of Attendance on the next page.

Estimated fees

2,082

Room (On-Campus)

6,326

Board (On-Campus)

4,630

Our review process for financial aid will begin once we receive two important pieces of information:

Books & Supplies (Estimate)

2,000

Indirect Costs Subtotal

2,000

•

•

completed CIA 2010–11 Application for Financial Aid, found under the Financial Aid Forms section at cia.edu/financialaid

Direct Costs Subtotal

43,878

Your

Results: the results of your Free Application for Federal Student Aid (FAFSA), a federally administered application found at fafsa.gov (CIA’s FAFSA code is 003982)

Cost of Attendance Total

45,878

FAFSA

Through the FAFSA process you will be assigned an estimated financial contribution (EFC). Your EFC is based on a standard formula established by

Your transportation and personal expenses can be included in your cost of attendance and factored into your eligibility depending upon how far you live from Cleveland or the amount of personal expenses you expect to incur.

We estimate the average annual cost of travel to be $1,400 and personal expenses to be $1,940. 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 to $49,218.

The cost of attendance for 2010–11 will be available at cia.edu/financialaid as soon as rates become official.

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.

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Resources for Tuition Support

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.

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F ederal

•

F ederal

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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.

School-based financial aid is just one avenue of support that you can apply to your overall tuition costs. You can pursue funding through student scholarships, state- and federal-based financial aid programs, student work study programs and private or public 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, which are usually based on special qualifications or merit, do not need to be repaid.

You are automatically considered for CIA meritbased scholarships if you complete your FAFSA. There are no extra application procedures for CIA merit-based scholarships. Many students combine multiple scholarships to reduce their cost of attendance.

CIA Merit Scholarships You may compete for a renewable merit award based on the strength of your portfolio and academic achievement. The following awards range from several thousand dollars to full tuition annually: • • • • •

IA President’s Scholarship C CIA Provost’s Scholarship CIA Dean’s Scholarship Cleveland Institute of Art Grant E xternal Scholarships

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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.

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 demonstrate need on the FAFSA as part of the yearly Financial Aid application process. It is your responsibility to apply for a designated work-study job, which you can find listed in CIA’s Work Positions Guide. Once you have located a job opening, interviewed and been hired, you will work with the Office of Financial Aid to complete the required paperwork.

When it comes to education loans, parent PLUS loans and private student loans are often the primary choices for last-dollar financing 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.

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W illiam

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lternative/Non-Federal/Private Loans: A Private lending institutions offer a variety of student loan programs. CIA works with private banks and can assist you with information on these loans.

Pell Grant: The government uses your FAFSA to determine your eligibility for this grant.

Academic Competitiveness Grant: To receive this grant, you must be eligible for the Federal Pell Grant, enrolled full-time in your first and second academic years (with a 3.0 GPA) and graduated from a rigorous high school program of study.

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IA Grants: The Cleveland Institute of Art C awards grants to students with exceptional talent, academics, or need, based on information submitted to the offices of Financial Aid and Admissions.

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hio College Opportunity Grant (OCOG): O This grant is based on Ohio residency, first college start date, enrollment status and FAFSA results. You must complete the institutional CIA Financial Aid Application each year to qualify for all state awards.

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 student loans (also called alternative student loans).

D. Ford Federal Direct PLUS Loan: PLUS stands for Parent Loan for Undergraduate Students. Parents may acquire these low-interest loans for their 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 Parent PLUS Loans is annual fixed interest rate of 7.9% for loans disbursed on or after July 1, 2010. The interest rate changes each July 1. For more information on PLUS Loans, go to cia.edu/financialaid.

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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 Center, Career Services and Jessica Gund Library

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: •

H elp

•

M anage

•

C onnect

•

G ive

•

A ssist

•

C oach

•

A ssist

•

P rovide

are just three of the many ways we supplement learning and studio practices.

CIA Writing Center The Academic Writing 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 you’ll receive instructional support for baccalaureate degree program courses involving writing and research. In addition we’ll provide you with guidance on time management and study skills along with other areas that lead to success in academic life.

You can also participate in a rotating series of smallgroup workshops on specific aspects of the writing process. We welcome students at any time during Center hours or you can make an appointment to work with tutors in preparing your academic writing assignments.

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•

you obtain a credit- or non-creditbearing internship an on-campus recruiting program

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 P rovide

access to College Central, an online job board

As a CIA alum you 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 offer tips on job search strategies and networking.

In addition, your access to our online job board, College Central, will continue as an alum.

Jessica R. Gund Memorial 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 Jessica R. Gund Memorial 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).

Our collections support the Institute’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. The library’s 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, 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.

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next steps 1 voice your passion Share this book with parents, friends, and teachers.

2 ask us Call us at 1.800.223.4700. We’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 We’ll see you in August.

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Index

Career Services 239 Ceramics 48–55 Chepke, Julia 85 Communication Design 56–63 Community Partnerships 227

A

Cost of Attendance 235

Academic Services 238–239 Career Services 239 CIA Writing Center 238 Jessica R. Gund Memorial Library 239

Coventry Center 227 Creative Edge 198 Creative Hub 224–227 Cumming, Justin 113

Accreditation & Membership 15 Adanich, Jessica 164 Adorni, Nick 57 Alumni 205–217 Beckett, Charollet 216 Birchfield, Christi 213 Brown, Marc 212 Cliffel, Kristen 214 Grasso, Ben 215 Hess, Derek 217 Mayen, Valerie 207 Nottingham, John 210 Reigelman, Mark 206 Richardson, Scott 212 Sallee, Charles 211 Schreckengost, Viktor 208 Schutz, Dana 216 Spirk, John 210 Stanczak, Julian 211 Tran, Thu 206 Animation 32–39 Apply 230–231 Deadline 231 Schedule a Visit 230 Submitting 231

B Beaufort, Claire 72 Bekoscke, Torianna 107 Bell, Laura 150 BFA Thesis Exhibition 227 Bible, Rebecca 114 Biomedical Art 40–47 Bristow, Amanda 130, 154 Building Your Portfolio 232

C Campanella, Antonia 50

G Game Design 88–95 Garrigan, Ivy 83 Geigel, Katie 115 Getachew, Kidist 180 Glass 96–103 Glick, James 156 Goto, Yumiko 55 Graphic Design 56–63

DiSalvo, Adrienne 132 DiVita, Ryan 151 Drawing 64–71 Drmota, Megan 147

Johnson, Bryan 116 Joki, Andrea 155 Jurkiewicz, Laura 101

K Kennedy, Jacquie 19, 79 Kinsley, Ben 181, 182 Knapp, Wendy 47

P Painting 136–143 Palmer, Matthew 140 Parland, Katie 62 Pearce, Brad 99 Peigowski, Stephanie 53 Photography 144–151 Pope, Carl 31

Greiner, Josh 118

Leitten, Sarah 173

Groh, Sarah 149

Liberal Arts 24–31

Portfolio 232 Building Your Portfolio 232 Questions 233 Review Process 232 Submitting a CD or DVD 233

Grove, Slate 103

Loans 237

Printmaking 152–159

Guhde, Jeffrey 161

Loesel, Katie 157

Programs & Majors 14–183 Animation 32–39 Biomedical Art 40–47 Ceramics 48–55 Communication Design 56–63 Drawing 64–71 Enameling 72–79

Grants 237 Green, Amy 76

D

Jewelry + Metals 128–135

Gulan, Nicholas 66

Kuhar, Andrew 89, 94, 172

L

M

Fiber + Material Studies 80–87 Foundation 16–23 Game Design 88–95 Glass 96–103 Illustration 104–111 Industrial Design 112–119 Interior Design 120–127 Jewelry + Metals 128–135 Liberal Arts 24–31 Painting 136–143 Photography 144–151 Printmaking 152–159 Sculpture 160–167 T.I.M.E.-Digital Arts 168–175 Video 176–183 Promersberger, Brandon 23

R Rauschenberger, Andrew 67 Rifkin, Liza 77 Robles, Kira 146 Roush, Adam 109 Ruccella, Brittany 86 Rush, Matt 124

S

Smith, Danielle 131 Snowden, Alexandra 84 Spencer, Charmaine 165, 166 Spring Show 227 Spoerndle, Thomas 142 Staiger, Elizabeth 128, 135 Steward, Darius 71 Stibitch, Scott 162 Storie, Jack 110

Sanders, Dorian 171

Strasser, Andrew 181

Sand, Chadd 35

Student Independent Exhibition 226

San, Jessie 46 Sarama, Brian 51 Savage, Mary 74 Schedule a Visit 230–231 Scholarships 236 Sculpture 160–167

Studio Spaces 13, 227 Sustainable Design 201

T T.I.M.E.–Digital Arts 168–175 Tuition 235 Cost of Attendance 235 Direct Costs 235 Indirect Costs 235

Dujmovic, Tina 65

H

E

Haines, Alex 133

Maibach, Ryan 112

Hanson, Samantha 138

Mazuranic, Antonia 139, 143

Hardink, Brion 9, 163

Marks, Michael 68

Hardy, Dana 87

Marzella, Trevor 58

Harris, Warren 179

Mason, Kara 63

Hemphill, Lauren 32, 39

McKenzie, Amanda 122

Khalil, Nemat-Allau 148

Merit Scholarships 236

Tuition Support 236–237 Grants 237 Loans 237 Merit Scholarships 236 Scholarships 236 Work Study 236

Hippler, Alexis 45

Morsch, Alexander 70

Turner, Kaley 75

Holtzinger, Adam 97, 98

Mote, Stephanie 18

Horner, Melissa 52

Munchoff, Mike 126

U

Early Action Dates 231 Eiser, Martin A. E. 144 Elek, Tim 36 Enameling 72–79 Environments 15

F Faculty 187-203 Baumlier, Kristen 188, 203 Cassara, Tina 194 Cuffaro, Dan 189, 203 Denk-Leigh, Maggie 190 Getachew, Kidist 202 Gollini, Michael A. 195 Goodman, Rita 24 Goss, Gretchen 196, 202 Hulick, Mari 191 Kessler, Joyce 197, 202 List by Department 202–203 Ostrow, Saul 192, 202 Soesemann, Petra 202 Young, Brent Kee 193 Faculty Partnerships 200 Faculty Residencies 198

Houry, David 34

Magerkurth, Kristen 22

Howat, Ellen 44

N

Hric, Mike 100

Next Steps 240

I

Nydza, Nicole 82

Illustration 104–111

O

Industrial Design 112–119

Obando, Jessica 60

Shank, Carolyn 106 Shelton, Rachel 158 Simmering, Zack 113 Sladek, David 111

Ueda, Yu 168 University Circle 226

V Valasco, Liz 159 Video 176–183

Inman, Brooke 152

W

Interior Design 120–127

Widen, Katherine 137 Wilhelm, Hannah 42

J

Wiser, Jim 93, 95 Work Study 236

Jessica R. Gund Memorial Library 239

Writing Center 238

Y

Fiber + Material Studies 80–87 Financial Aid 234–237

Yellow Ribbon Program 234

Foundation 16–23

Z

Campus Map 218 Campus Overview 224–225

Zarobell, Richard 134 Zhou, Quan 117

B ack Cover: S e a n Swe eney ’ 10

242 cia.edu/admissions

Color Photography: Rob Muller / Design: TWIST Creative, Inc.

The Cleveland Institute of Art

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