Story: Nov 18, 2014
New film studies prof helps students appreciate film as art ...
CIA Exhibition: Nov 07, 2014
Fall 2014 Exhibitions
Story: Nov 15, 2014
Students capture two of the top prizes in museum's surreal d...
Events: Dec 05, 2014
Student Holiday Craft Sale
Social: 2 days ago via Facebook
Registration opens on Monday, Nov. 25 for the Cleveland Institute of Artís 2D3D national art and design competition for high school students. There are 13 cash ...
Story: Nov 04, 2014
New CIA building taking shape; set for December completion
Hybrid Approaches to Drawing + Painting: Digital Media
Emphasis is on integrating digital processes into studio practice and production. The class deals with a spectrum of digital applications in a studio practice including straight forward digital output, using digital as a means of producing source material as well as actually integrating digital processes into the production of work. Through slide presentations, viewing actual work, discussions and readings, students will be introduced to the place of the digital in contemporary studio practice. In studio production, students will use varied media and subjects, both traditional and non-traditional, to further develop their analytical and expressive means in their creative practice. Students are encouraged to draw from many disciplines incorporating them in the projects presented to the class for group critiques. Open to all Students -- required of Print and Drawing Juniors.
Image + Form I
Image/Form promotes a general understanding how images work and are developed, which is a fundamental aspect of the Visual Arts. The course introduces the students to the various means by which images can be rendered, such as by drawing, painting, carving, embroidering, etching, etc., as well as by digital means, by appropriation, and by the use of ready-mades. The students are also introduced to the diverse ways in which images and forms can be manipulated, or manifested conceptually and materially by exploring the inter-relation between 2 and 3 dimensions, as well as in time-based media by the use of collage or assemblage. In doing this, we introduce them to the concept that an image's "form," consisting of its physical and spatial qualities, as well as the technical qualities of their chosen mode of production, is part of its content. By these means they are introduced to practical and semiotic nature of images and their production in the context of the contemporary by means of assignments, readings, discussions, and studio critiques. Open as elective to all majors. This course is required for all sophomore students in VATe. Offered fall.
Image + Form II: Reproducibility
Reproducibility (offered with an emphasis on either 2D or 3D production) introduces the student to the idea that the uniqueness of the work of art is not an intrinsic or inherent quality of the work itself, but the result of the choice of media. Consequently since the Renaissance and the advent of Printmaking, the printing press, and bronze casting, multiplicity and reproduction have been a part of western culture. The machine age, photo-reproduction, lithography, industrial standardization, modularity, fabrication, and multiplicity became part of artistic practice. Prints, posters, ready-mades, objects, books, commix, and designed utilitarian objects editions, multiples, modules, and reproductions are now a significant aspect of contemporary art making which abandons the notion of the unique work Making works of this kind requires the artist to take into consideration the how the act of reproduction, or replication constitutes part their workÕs form and content. Open as elective to all majors. This course is required for all sophomore students in VATe. Offered spring.
Installation + The Constructed Object
This course is a special topic course designed to cover the design, construction and lighting of installations, stage sets, and performance spaces. Students will investigate contemporary applications and approaches to subjects specifically composed for the camera, and document installations that exist outside of the studio environment, with an emphasis on the genre's relationship to historical and contemporary theatre. Workshops include traditional camera formats, digital cameras, advanced studio lighting, basic electricity and carpentry, with an emphasis on scenery design. Students will plan and create small-scale models of stage designs; scale up these designs, and document their design. This course will be of special interest to students working in both installation and industrial design. Open to all students.
Installation: The Empire of the Senses
Course No. VAT 25X-35X-45X Credits: 3.0
Working with materials and methods not traditionally associated with the visual arts, installation breaks away from the singular object, the pedestal, the detached viewer. Visual lectures and presentations on recent work will include discussion on the nature of the work and its context. Studio work and additional presentations will focus on perception - how we understand the world through touch, sight, smell/taste, the sense of hearing and kinesthetic cues from muscles of the body. The information presented, student research and studio research will provide an environment of concepts and ideas to support and challenge each student’s work. Students will develop installations in line with their interests.
Intro to Painting: Painting History: 1828-Present
This is a beginning painting course. It is a prerequisite for painting electives and all advanced painting courses. This course introduces students to painting through historic painting practices and conventions using oil-based paint as the primary material. Students are asked to approach painting pre-photographically (as if the year were 1828). Students are introduced to the fundamentals of a traditional painting practice with an emphasis on observational rendering and applied color theory beginning with Newton. Students will learn about color mixing, brush types, support construction and general canvas preparation. Students will paint from life learning how to capture the three- dimensional world on a two-dimensional surface as well as how to use material working through shape, form, texture, and mark to create an illusion of space and mass. Through critiques, discussions, readings, slide presentations, and museum visits, students will develop vocabulary and critical thinking skills essential to their studio practice as well as a sense of the history of painting leading to contemporary practices. Offered fall.
On Painters + Painting: Aura, Author
Course No. PTG 251-351-451 Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present
With an emphasis on the practice of Painting, this class examines the role subjectivity plays in contemporary art. The position of the artist and the frame of the canvas will be traced from the modernist notion of individual expressiveness, to post-modernist practices characterized by the end of the author's authority and finally to contemporary practices in which the artist's hand reemerges in dialogue with mechanized and digital processes. Students will be asked to grapple with these complex issues in relationship to what they paint and how they paint. Class discussions will address a variety of critical essays dealing with these topics and the practice of painting as treated by artists and critics. This course is open to all students with the prerequisite of Intro to Painting or with the permission of the instructor.
Painted Bodies: The Contemporary Figure
Course No. PTG 220-320-420 Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present
This course deals with the position of the figure within contemporary painting and a studio practice extending from that position. Figurative painting represents the continuation of a tradition that extends back before history and is yet poised to reach into any foreseeable future. Class discussions will be based on readings that deal with critical and historical issues surrounding the figure in painting and on the work of contemporary artists dealing with the figure from a painting perspective. By the end of the semester students will be expected to develop a cohesive body of work dealing with the figure as its subject. The student will also be required to articulate a statement that situates their work within a contemporary practice of figurative painting. This course is open to all students with the prerequisite of Intro to Painting or with the permission of the instructor.
Associate Professor/Chair of Painting
Lane Cooper is an artist, who works through painting, sound, video, text and, on occasion, performance. Her wo...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.