Mar 04, 2014
Ten CIA grads talk about automotive design careers in three new videos
Feb 14, 2014
2014 Student Independent Exhibition
Feb 28, 2014
Progressive acquires artwork by CIA instructor Dan Tranberg
Mar 28, 2014
Dinner by Design – Art of the Table, and a runway show
about 11 hours ago via Facebook
CIA congratulates Sreshta Rit Premnath ’03, whose solo show at KANSAS GALLERY in New York City was a “critics‘pick” in the prestigious journal, Art Forum. Read the review here: http://ow.ly/utVXH
Feb 19, 2014
Photography major captures images on hand-blown glass
Mar 28, 2014
The Accident: Recent Work by Nicky Nodjoumi
Feb 14, 2014
Glass major wins award in Niche magazine competition
Apr 22, 2014 @ Museum of Contemporary Art Cleveland in Cleveland, OH
2014 Spring Design Show
Mar 11, 2014
3/13-17: Ikiru, To the Wonder, Escape from Tomorrow & more!
Museum Studies: Who Owns Art? Issues of Asian Art Collecting
Course No. ACD480X Credits: 3.0
In the past five to ten years, issues of ownership and provenance of art works in museums have been hotly debated, with regard to both art world ethics and cultural sensibilities. Some art museums have returned holdings to their original countries and some have firmly maintained their legitimate ownership of objects. For example, the Metropolitan Museum of Art in New York recently returned to Italy the fifth-century B.C. Euphronios krater. The looting of art has existed in both the past and the present and has not been limited to European countries alone. It has also occurred in Asia—China, India, and other South Asian countries—where the looting has come from internal rather external motivations. How much do we know about such occurrences in Asia? This open-discussion seminar is aimed at exploring issues of ownership in the art and visual culture of Asian countries, and how they are represented and displayed in current European and American contexts. In order to understand this current issue, some historical background on art collecting and museum operations can not be omitted. Participation in readings and discussions are expected in the classroom. Visual Culture Emphasis course.
Narrative Art + Mythic Patterns in African + African-American Literature
Course No. LLC471 Credits: 3.0
This course will focus on the various artistic ways African and African-American imaginative writers create a narrative interlock of mythic and contemporary materials to formulate in postcolonial and postmodernist terms an essentialist condition of their people's experience, while a number of them explore the interface of classical and African myths for an informed global vision. Their works are largely structured with images and symbols endowed with dynamic moral and spiritual significance. They problematize the African thinking underlain by the inseparableness of the natural world and the supernatural realm, the human and the divine, the animate and the inanimate, just as this inseparableness also aesthetically underlies the relationship between the naturalistic and the abstract in both African visual art and Harlem Renaissance. There is in postcolonial African literature, and in many 'Third World' countries, a new narrative art-form which can be called 'animist realism.' It is critically regarded as contesting the dominant protocol of conventional (Western) realist narrative which is predicated on knowability and linearity. We will also look at how the interface between oral art (free text) and written art (fixed text) mediates between fiction and history in this new form of narrative realism. And there will be an ample number of videos for visual elucidation. Fulfills Humanities/Cultural Studies distribution requirement. Creative Writing Concentration course.
Neo-Expressionism, Neo-Geo, + Post-Modernism
Course No. ACD442 Credits: 3.0
This course will explore neo-expressionism, neo-geo and postmodern art (painting, sculpture, performance, photography) of Germany, Italy, England, and the United States from 1971 to the present. We will survey two major developments in art making and cultural theory taking place in Europe and America. The first is art as anti-modern (neo-expressionism) - a return to history, to representation, to narrative, to the figure, and of the artist/self. The second is art after "the death of the author" (postmodernism) - or the end of the individual "author"/artist (as the unique source of meaning of art) and the birth of the reader/viewer. In analyzing these developments, the course will survey the work of a number of artists. Visual Culture Emphasis course.
On the Same Page: Rhetoric, Design, & Writing in the Digital Age
Course No. LLC351X Credits: 3.0
This course will allow students to develop the skills and understanding necessary for literacy in our information-saturated times. Facilitated by growth in electRonic technologies, more and more types of written texts, in both print and online media, have fused with images and other graphics. Literature producers and consumers of these emerging hybrid texts will need awareness of and competence in the complex communicative strategies that they engage. While this course offers valuable knowledge to any developing artist, it is particularly suitable for students studying in the visual communications majors; i.e., Communication Design, Illustration, Biomedical Art, Film, Video and Photographic Arts, Digital Arts. Fulfills Humanities/Cultural Studies distribution requirement. Creative Writing Concentration course.
Poetry Writing Workshop
Course No. LLC211W Credits: 3.0
Faculty Susan Grimm
This class will focus on the creation, revision, oral and visual presentation of poems. Because good writing requires deep reading, we'll also be reading and responding to poems from an anthology throughout the semester. Students will be required to keep a journal that responds to anthology poems in the form of imitation poems, commentary, letters to the poets, or illustrations. Class time will be spent doing writing and revision exercises, small-group work, discussing poems from the anthology, playing with various aspects of poetry, and workshopping poems written in class. The final project will entail creating a chapbook of poems written during the semester. Fulfills Humanities/Cultural Studies distribution requirement. Creative Writing Concentration course.
Prehispanic Civilizations: The Aztec, the Maya, the Inca
Course No. SNS360X Credits: 3.0
Faculty Elizabeth Hoag
This will be a lecture based, Anthropology course that focuses on the three major civilizations of Prehispanic Latin America; the Aztec, Maya, and Inca. We will study the three civilizations to understand the complexity of New World cultures, and to understand what their legacy to the Americas is today.
This course provides the student an overview of the environment surrounding the business of art and design, and the practice of the individual. A core lecture series covers self-promotion, networking, ethics, intellectual property, contracts, professional development, and guidance by practicing professionals. Students must select one of the breakout sections. Industry section supports student preparation to become an integral part of a commercial organization by providing an understanding of corporate methods and practices. Entrepreneur section transports the student through the key decisions required to establish a successful art/design business. Studio to Gallery section focuses on the complexities of a professional artistÕs studio practice by examining interactions with gallery directors, museum curators, preparators, conservators, and marketing professionals. This course is a required for all academic majors and encouraged for students in their Junior year of study. Offered fall and spring.
Putting Artists in the Classroom: Intro to Teaching Art I
Course No. GEN400 Credits: 3.0
Faculty Kristin Thompson-Smith
Students will have the opportunity to receive a general introduction to the world of art education. Students will have the opportunity to give back to their community by providing art education to a school that does not have an existing art program. Students will be working with a cooperating classroom teacher in order to have first-hand teaching experience through the creation of the studio arts. Through this process students will be provided with the principles and practices of art education for grades K–8. Students will also be provided with curriculum construction and lesson planning to be used during their teaching of art education.
Dan Tranberg has published more than 750 articles on art and has exhibited his paintings in more that 40 exhib...more
While at CIA, you'll learn from the masters through our rigorous, world-class curriculum and connect with working professionals to begin your career.