Dec 06, 2013
New video highlights George Kozmon's playful work
Nov 02, 2013
Cinematheque to show eight classic comedies by Ernst Lubitsch
Dec 02, 2013
Industrial design grad gives TEDx talk on creative play
Nov 08, 2013
2013 Fall Exhibition
a day ago via Facebook
Looking for a new gallery experience in Cleveland? Stop by RED space, "a raw exhibition gallery" located inside the Hotcards Headquarters at 2400 Superior Ave., tonight, from 7-11, to see Friction: When Two Worlds Collide, a show featuring CIA grad George Kozmon, as well as Bruce Conforti and John Sargent. Watch CIA’s new video about Kozmon at http://ow.ly/rwRfP.
Dec 02, 2013
CIA's Contemporary Artist Index: 31,000 strong, and now easier to use than ever
Dec 06, 2013
2013 Student Holiday Show
Nov 22, 2013
CIA wins UCI award for Euclid Avenue ArtBox project
Dec 10, 2013 @ Front Room Gallery in Cleveland, OH
Rush Limbo Exhibition
Dec 03, 2013
12/5-8: AT BERKELEY, A TOUCH OF SIN, PORTRAIT OF JASON & more!
Title Technical Specialist/Adjunct Faculty
Degree MFA Painting Boston University; BFA Studio Art New York Universityexpand collapse
Title Visiting Instructor
Title Visiting Instructor
Courses 100 Drawings | BFA Production + Independent Research: Production, Conveyance + Presentation | Collage + Assemblage | Drawing I | Drawing II | Drawing: Intro to Advanced Observation, Illusionism, Concept | Drawing: Style Context | Painted Bodies: The Contemporary Figure | Painting After the Photograph: Painting in the Age of Mechanical Reproduction | Painting: Constructing Narratives
Degree MFA., Kent State University; BFA., Pratt Institute
Royden is a Visiting Instructor in Painting, Foundation, and Drawing at The Cleveland Institute of Art. He has tought at Kent State, Oberlin Colledge, and Case Westerjn Reserve University. Royden's work has shown in galleries in Ohio, Utah, and Germany.expand collapse
Title V.P. of Faculty Affairs and Chief Academic Officer, Professor
Degree Whitney Museum Independent Study Program; MFA, Rhode Island School of Design; BFA, Wayne State University
Christopher Whittey is currently Vice President of Faculty Affairs and Chief Academic Officer at the Cleveland Institute of Art. Prior to this position he served as Vice President for Academic Affairs and Dean at Maine College of Art (MECA) and was the Dean of Academic Services at Maryland Institute College of Art (MICA), where he served as faculty from 2001-2009. After studying at the Center for Creative Studies and receiving his Bachelor of Fine Arts degree from Wayne State University, Whittey worked as a master carpenter building stage sets and props in New York for such prestigious venues as the Metropolitan Opera, Saturday Night Live and The Conan O'Brien Show. In 1989, he returned to complete his formal education at the Rhode Island School of Art and received his Master of Fine Arts degree in 1991.
The following year, Whittey was selected to attend the prestigious Whitney Museum Independent Study Program. His work has been showcased in numerous locations including White Columns and The Thread Waxing Space in New York and he has received a New Jersey State Council on the Arts Fellowship, Van Lier Foundation Grant (awarded by the Whitney Museum Independent Study Program), Individual Artists Grant from New York's Artist Space, and the faculty development grant from MICA. Publications include The Detroit News, The New York Times, The Village Voice, Documents and World Art.
Degree Freie Kunstschule (Independent Art School) Nurtingen (Germany)
Academy of Fine Arts at the Staatlicen Akademie der Bildenden Kunste (State Academy of the Fine Arts), Stuttgart (Germany) MFA
Christian Wulffen has been an Associate Professor since 2003.
I am concerned with how artists achieve knowledge and how they structure knowledge. This intersects with my concern as a teacher and artist, to encourage participants to reflect on the processes that an artist goes through--for example, an intuitive creative thinking process, intentional purposeful engagement, and adherence to a model or system.
These thought processes can be contextualized further by situating them within larger theories of knowledge production, as outlined by W. J. T. Mitchell: “semiotics, structuralism, deconstruction, system theory, speech at theory, ordinary language philosophy and now image science or critical iconology”.
To convey this notion of action as a mode of knowledge production, I use specific symbols for my work, one of these: boards that are pre-manufactured with three vertical slots and one horizontal slot (plywood).
From the viewer’s perspective, the board has the option to hold various information. From my perspective, I see this as a concept to display information to exercise the different links in its display from one board to another. My environment is a grid—one of the hallmarks of modernist abstraction and capable, as a visual symbol, of signifying a whole system of art production and thought. This idea is depends on the perspective of the viewer and how that viewer is situated in a distributed network of production and reception of the information about this subject.
Crucially for me, the painting, the paper, and the board (as in my recent production), simulate the portability of information. I am interested in its mobility as a sign in which sender and recipient receive the same information but decode it differently depending on their respective environments.expand collapse