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Story: Oct 20, 2014

CIA grad transforms Corvette into canvas on wheels

View details Unruly Engagements Conference

Events: Nov 06, 2014 @ Cleveland Institute of Art in Cleveland, OH

Unruly Engagements Conference

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Story: Oct 16, 2014

Commitment to CIA runs deep for Charles Mayer '64

View details Opening Reception Community Works: Artist as Social Agent

CIA Exhibition: Nov 07, 2014

Opening Reception Community Works: Artist as Social Agent

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Social: 3 days ago via Facebook

CIA and The Euclid Tavern go way, way back. Countless alumni, including renowned rock poster artist Derek Hess 88, have happy memories of good times and great ...

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Story: Aug 27, 2014

New residence hall welcomes first-year students in comfort, ...

View details Fall 2014 Open House

Events: Nov 15, 2014

Fall 2014 Open House

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Story: Aug 18, 2014

CIA again named to "Best in the Midwest" list

Academics . Courses

Courses Courses

The Artist Book Now: Narrative and Form

Course No. PRI 432  Credits: 3.0
Faculty Jennifer Craun

This studio course is for students interested in producing sequentially developed imagery via linear book structures. Historical examples and contemporary developments regarding the evolution of the artist book are examined through texts, through the use of our library's artist book collection, in discussion, and during critiques. Due to technological advancements over the last century artists now have a variety of media with which to explore output of book projects. The class will expose students to the nature and potential of different book structures as well as a variety of materials. The course will heighten the student's ability to utilize the interaction of sequenced content -- the act of turning pages-- to express the continuity of an idea flowing through a continuum. Students realize the potential of narrative, sequence, and pacing, together with the importance of combining word and image. Note: Open Elective. Required for Fourth Year Print Majors. 3 credits.

The Body: Tradition, Transformation, Transgression

Course No. ACD 458  Credits: 3.0
Faculty Rita Goodman

This seminar-style course will explore one of the most important themes of twentieth-century visual art: the body (male and female). We will discuss a complex range of ideas and values associated with the nude (and naked) body as it has been re-presented in 20th c. photography; painting; sculpture/installation; performance and body art; and video. While the "great tradition" of the nude will be introduced, the course will focus on art produced since the 1950s (from the late modern to the postmodern era). Among other topics, we will study the visual body as a representational site for the self; for erotic desire; for the political position of women; and for formal experimentation. We will look at art that presents bodies which are very much outside tradition: i.e., bodies that are sick, decaying, dying, dead, aging, obese, androgynous, deformed, etc. Topics and terms of analysis will include: the traditional nude; feminist critiques of sexism; voyeurism; "exploitation," "obscenity," and censorship; objectification (gaze theory) sexuality; the nude self-portrait and portrait; parody and quotation; the female nude and modernism; Kenneth Clark's nude-naked (ideal-real) dichotomy; identity and performance; and formal aestheticizing of the body. Visual Culture Emphasis course.

The Contemporary Portrait

Course No. PHV 228-328-428  Credits: 3.0
Faculty Nancy McEntee
Prerequisite(s) Fundamentals of Studio Lighting | Photo I: Mechanics of Digital + Darkroom Photography

This course is an exploration of contemporary approaches to portraiture and its relation to the historical photographic portrait. Analysis of both simple and complex photographic identities and real and invented realities are investigated. Photographic assignments, readings and discussions lead to a better understanding of the student’s individual approach to the portrait and their unique relationship with the subject. Practical applications of Photographic portraiture will also be discussed. Open Studio elective 3 credits. Prerequisites: PHV 295 Photo I: Mechanics of Digital + Film Photography; PHV 292 Fundamentals of Studio lighting, or Instructor signature.

The Extended Body

Course No. FIB320/420  Credits: 3.0
Faculty Christina Cassara

This class will address the amplification and expansion of the body into space and the role of the senses in perception. Studio work will begin with a consideration of how we understand the world though touch, sight, smell/taste, the sense of hearing, and kinesthetic perception supplied by muscles of the body. Costume, object-generated performance and social sculpture are examples of the directions taken by students. Media, processes and techniques are open and will be based on individual interests, knowledge and skill sets. Open elective. Required Junior year FMS Majors. 3 credits.

The Fine Art of Silver Print

Course No. PHV 270-370-470  Credits: 3.0
Faculty Nancy McEntee
Prerequisite(s) Photo I: Mechanics of Digital + Darkroom Photography

This is an advanced level black and white silver printing class. We will investigate advanced film exposure and archival printing techniques, fine art printing papers, developer combinations and toning procedures to produce full tonal range darkroom prints. Medium and large format cameras will be demonstrated and utilized. Projects for this class include an in-depth self-assignment finalized in a portfolio of archival Silver prints. We will also view master fine art prints at local galleries, museums and collections. Prerequisites: PHV 295 Photo I: The Mechanics of Digital + Film Photography or instructor signature. Required of Sophomore Photography majors. Open elective.

The History of Art History & Its Philosophy

Course No. ACD479.1  Credits: 3.0

The History of Art History and its Philosophy Art history is the academic study of art in its historical development. As a discipline, art history is distinguished from art criticism, which is concerned with establishing the relative artistic value of works and art theory which is concerned with the fundamental nature of art. This course will trace the historical development of these discipline both ideologically and methodologically: formal analysis, semiotics, psychoanalysis and iconography beginning with the late 19th Century works of Alois Riegl, Franz Wickhoff, and the Vienna School through to Rosiland Krauss, Mieke Bal and the post-Structuralist. Special attention will be given to the correspondence between the changing methodologies and their philosophical sources in Kant, Hegel, Marx, Freud, etc. Visual Culture Emphasis course. 3 credits.

The Liberated Print: Investigation of Alternative Methods

Course No. PRI 277-377-477  Credits: 3.0
Faculty Corrie Slawson | Liz Maugans

This course creates a context for students to negotiate the challenging and complex issues embedded in the making of contemporary printed images. Projects and techniques complement and extend methods of traditional processes, allowing students room to invent, arrange, analyze and create connections through more immediate printmaking methods to their major fields of study. This class will concentrate on the intuitive, spontaneous and fluid approaches in printmaking such as; monoprint, collagraph, transfer drawing, Xerox litho, and wood intaglio, instigating the dialog between the limited edition vs. singular print, and the original vs. a copy. We will consider formats that bridge other disciplines working with color, installation and three-dimensional/sculptural constructions with considerations to work on paper. The course will offer experiences that provide the tools to understand print media within a contemporary framework. Note: Open elective. Encouraged for third and fourth year students with a painting and drawing emphasis as an Elective Studio. Required for Third Year Print Majors.

The Liberated Print:Investigation of Alt Methods

Course No. PRI477.1  Credits: 3.0

This course creates a context for students to negotiate the challenging and complex issues embedded in the making of contemporary printed images. Projects and techniques complement and extend methods of traditional processes, allowing students room to invent, arrange, analyze and create connections through more immediate printmaking methods to their major fields of study. This class will concentrate on the intuitive, spontaneous and fluid approaches in printmaking such as; monoprint, collagraph, transfer drawing, Xerox litho, and wood intaglio, instigating the dialog between the limited edition vs. singular print, and the original vs. a copy. We will consider formats that bridge other disciplines working with color, installation and three-dimensional/sculptural constructions with considerations to work on paper. The course will offer experiences that provide the tools to understand print media within a contemporary framework. Note: Open elective. Encouraged for third and fourth year students with a painting and drawing emphasis as an Elective Studio. Required for Third Year Print Majors. 3 credits.

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