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Painting
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Story: Dec 17, 2014

Students animate, illustrate holiday greetings on behalf of ...

View details Fall 2014 Exhibitions

CIA Exhibition: Nov 07, 2014

Fall 2014 Exhibitions

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Story: Nov 15, 2014

Students capture two of the top prizes in museum's surreal d...

View details 35th Annual Scholastic Art & Writing Exhibition

CIA Exhibition: Jan 14, 2015

35th Annual Scholastic Art & Writing Exhibition

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Warm wishes to you this holiday season from the Cleveland Institute of Art! Artwork created by Animation majors Brienne Broyles 16 and Maria Ursetti 16. Rea...

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Story: Nov 04, 2014

New CIA building taking shape; set for December completion

View details 69th Annual Student Independent Exhibition

CIA Exhibition: Feb 13, 2015

69th Annual Student Independent Exhibition

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Story: Nov 03, 2014

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Events: Mar 21, 2015

Spring 2015 Open House

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Story: Aug 18, 2014

CIA again named to "Best in the Midwest" list

Academics . Painting . Courses

Painting Courses

Painting After the Photograph: Painting in the Age of Mechanical Reproduction

Course No. PTG 233-333-433  Credits: 3.0

Painters going back as far as the Renaissance have been using devices such as the camera obscura to produce a two-dimensional verisimilitude. With the invention of photography in 1839, artists were liberated from the demands of reproducing naturalistic appearances. This course will explore the relationship between the photograph and painting; the effect that the birth of photography has had on the history and current state of painting. A primary question to be considered will be: What are the strategies of painting in the age of mechanical reproduction? How has photography and mechanical reproduction influenced painting functions? We will look at artists as varied as Delacroix, Courbet, Warhol, Rosenquist, and Richter among others. Readings will include Walter Benjamin’s “Art in the Age of Mechanical Reproduction.”

Painting as System, Method, Organism + Concept

Course No. PTG 226-326-426  Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present

This course examines the nature of Painting as it relates to other visual arts media. The creation of systems as a way to generate, organize, compose, pattern, plan, fashion, model, design, execute, and possibly destroy art work will be explored. Artists such as Sol Lewitt, Marcel Duchamp, Survival Research Laboratories, Vito Acconci, Fischli + Weiss, Chuck Close, Alfred Jensen, Jackson Pollock, and Mel Bochner will be examined within the context of how systems function within their work. Reading relevant texts, looking at work, research/special projects, studio work, group and individual critiques are an integral part of this course. Students may work in the area of their expertise. Goals + Objectives: Students should understand the nature of the decision- making process in the creation of work, and establishing analyzing and evaluating criteria. This course is open to all students with the prerequisite of Intro to Painting or with the permission of the instructor.

Painting Beyond Observation

Course No. PTG 232-332-432  Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present

Continued emphasis on material, color, and skill-building. Students will work with primarily with acrylic paint. This class moves beyond observational rendering and focuses on other approaches to developing content for work. Class topics focus on contemporary issues in Painting including: "What makes a Contemporary Painter? What is Painting? What is a studio practice? What does it mean to be a professional?" Some of the topics to be considered: abstraction, representation, perception, mimesis, conceptual, subject, reality, expressive, authorship, and interpretation. A few of the artists that will be looked at: Kandinsky, Duchamp, Arshile Gorky, Jackson Pollock, Ad Reinhardt, Gerhard Richter, Jack Whitten, Peter Saul, Agnes Martin, Pipilotti Rist, Lisa Hoke, Jessica Stockholder, Jenny Saville, et. al. This course is open to all non-Painting major students as an elective. It is required of all Painting Major Sophomores.

Painting Lab: Explorations in Representation + Figuration

Course No. PTG 23X-33X-43X  Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present

This course identifies the components of traditional figurative painting such as space, composition, point of view, color, and scale. Using this as a platform each of these will serve as the subject of a sustained investigation. This approach will function to establish an understanding of these elements in a conventional context as well as the object of experimentation. This course will be useful to students in all areas who are interested in working figuratively in two-dimensions. This course is open to all students with the prerequisite of Intro to Painting or with the permission of the instructor.

Painting Seminar: Contemporary Issues in Painting

Course No. PTG 422M  Credits: 3.0
Faculty Daniel Tranberg

In preparation for the student's final BFA defense and for working beyond an undergraduate level, this course focuses in an advanced manner on the seminal issues covered over the course of the student's visual arts education. Questions of style, aesthetics, concept, meaning, and context are addressed. Particular emphasis is given to issues concerned with presentation, "framing," audience and reception. Students are expected to engage in critical discourse surrounding the work of fellow students, established artists and their own work. By the end of the term students are expected to clearly identify the subject of their work, defend their choices in relation to this subject as well as discuss reasonable expectations of audience reception. Course readings will be given in relation to these topics as well as the maintenance of a professional studio practice. Required for all 4th year Painting majors and open as an elective to any senior or with the permission of the instructor or Painting Head.

Painting: Color, Scale, Mark, + Form

Course No. PTG 241-341-441  Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present

Figurative', 'abstract', 'conceptual', 'non-objective', 'romantic landscape", "post-modern", "Bob Ross-ian", paintings all have an underlying structure. This studio course examines how the specificity of color, scale, mark and shape form and affect a painting's content. Students will be encouraged to focus on their own body of work while exploring issues of content within the themes of the class through the investigation of their own studio practice, as well as looking at and analyzing the work of other painters and artists throughout history. This course will be of particular interest to students in painting, drawing, + printmaking. This course is open to all students with the prerequisite of Intro to Painting or with the permission of the instructor.

Painting: Constructing Narratives

Course No. PTG 235-335-435  Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present

Every painting implies a narrative, whether it is a story being told through the images or the story of how the painting itself was made. This class is focused on what constitutes a narrative and the creation of content and strategies in painting. Students will consider implied, explicit, rhizomatic and linear narratives. Through studio practice, lecture and discussion students will engage in producing visual and conceptual narratives within their work. Through investing narrative students will move beyond the fundamentals of Painting and focus on the development of a personal practice as framed by contemporary standards. Students will be expected to do research and generate a project reflecting their personal interests. By the end of the semester students will have identified a subject and created a group of works focused on this subject. Further students will be asked to work toward an artist statement to accompany their work. This course is open to all non-Painting major students as an elective with the prerequisite of Intro to Painting or with the permission of the faculty. Required for Junior Painting Majors.

Painting: Framing the Subject and Construction of Meaning

Course No. PTG 229-329-429  Credits: 3.0

This course focuses on the further development of the subject of the student's work. Emphasis is on strategies of meaning construction from the perspective of the artist's intention. Students will develop and discuss intention embodied in a work through critiques and discourse and will explore the relation of means to meaning. Students are expected to engage in critical discourse surrounding the work of fellow students, established artists and in relation to their own work. The goal is to develop an understanding of the criteria, standards and values promoted by the artist and how these come to be understood by the audience. In addition students will be expected to demonstrate a personal commitment to a student practice and the willingness and ability to make work. Required for all 4th year Painting majors and open as an elective to any senior from regardless of major or with the permission of the instructor or Painting Head.

Meet Your Professors view all

Anthony Ingrisano

Anthony Ingrisano

Instructor

Anthony Ingrisano is an instructor in CIA's Painting and Foundation departments. Ingrisano, who has been livin...more

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