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 16 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!
Academics . Courses
Putting Artists in the Classroom: Intro to Teaching Art II
Course No. GEN400A 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.
Race and Representation in Contemporary Art + Culture
Course No. ACD420 Credits: 3.0
Faculty David Hart
This seminar-style course considers the relationship between race and representation in visual art and culture during the last three decades using contemporary methods including multi-culturism and postcolonial theory. We will discuss and analyze examples of contemporary art as well as popular culture drawn from advertisements, animation, film, the internet, installation and performance art, sculpture, photography, television and video. The focus will be on American culture, but discussions will also include the cultural contexts of Africa, the Caribbean, Europe, and Latin America. In addition to the primary focus on the representation of race, questions of class, sexuality, and gender will also be considered. Questions to be addressed include: Is race largely a biological or cultural phenomenon? How are "white" and "mixed-race" understood as racial categories? How have artists of different races dealt with racial identity and representation? Do popular media such as commercial advertisements and music videos convey prevailing notions of racial stereotypes? Visual Culture Emphasis course.
Retail Design + Brand Design
Course includes brand-focused projects including a retail design project hosted at client location with the final presentation to their design team and an advance design problem with industry interaction or competition with a potential summer internship. Mandatory for all Junior Interior Architecture Majors. Open elective, sophomore and above. No pre-requisites for electives. Offered spring.
Retail, Restaurant, and Store Design
Course No. INTA232A Credits: 3.0
Faculty Michael Gollini
Introduction to Retail Design Course includes several retail design problems covering various problem-solving methods including: retail fixture/specialty retail project working with a local Cleveland-based company and retail storefront design. Students will participate in formal critiques using presentation methods and skills. Mandatory for all Sophomore Interior Design Majors. Open elective, sophomore and above. Offered spring.
Role of the Artist as Producer
Contemporary artists have a multitude of ways they can engage with the larger world, beyond the realm of the gallery or museum. Students enrolled in this course will explore various models of artistic production including, but not limited to, performer, activist, curator and provocateur. The relationship between method of creation and idea, or the handmade versus the industrial, will be investigated. Additionally, assignments will challenge students to analyze the content of their artwork within local, national, and global contexts. Coursework will include studio work, readings, discussion, and critiques. Required for VAT seniors in all majors. Open as an elective with approval of instructor. Offered fall.
Science Fiction Writing Workshop
Course No. LLC210W Credits: 3.0
The genre (or sub-genre) of science fiction may, on one level, be seen as a variety of Romanticism, as an extended collective response to features of modernity, specifically scientific discoveries and innovations, as well as elements of the Industrial and technological revolutions. Science fiction, in its astonishing number of permutations, has filled a vast canvas of imaginative possibility, discovering a range of responses and forms that range from the dystopian, pessimistic, even nihilistic, to the utopian. We hear and see, in the voices and imaginations of different science fiction writers and artists, warnings and celebrations, but at the bottom, questionings of what it means to be human and of what kinds of possibilities may lay before us. Science fiction is also a remarkably popular genre; it's vitally manifested in books, television shows, films, toys, games. In this class we will investigate some of the space(s), both literal and metaphorical, that science fiction (and popular ideas of science) offer to the imagination. The course's center, however, is the students' own writing and their own ideas, and will be conducted in workshop format, with relatively brief lectures by the instructor presenting relevant literary, historical, theoretical and biographical backgrounds and contexts. During the semester, students will present two to three original works-in-progress (either creative or critical) to the class, distributing photocopies of their work a week in advance to the members of the class and to the instructor. Fulfills Humanities/Cultural Studies distribution requirement. Creative Writing Concentration course.
Course No. LLC318 Credits: 3.0
Faculty Shelley Bloomfield Costa
What is a spec script, a slugline, a smash cut? What's the difference between montage and a series of shots, and why does the screenwriter need to know? One script page averages how many minutes of onscreen film time? In addition to the demands of just plain good storytelling, writing for film entails expressing everything about the story visually, which gives visual artists an advantage in adapting to the demands of the form. It is the screenwriter's job to put all of the sights, sounds and speeches on the page, while still leaving room for interpretation by the filmmakers. In this course we will discuss the elements of good storytelling, study the screenplays of Pulp Fiction and Chocolat, and write a short screenplay formatted to conform to industry standards. Fulfills Humanities/Cultural Studies distribution requirement. Creative Writing Concentration course.
SCU/VAT: Installation: The Empire of the Senses
Course No. VAT45X.1 Credits: 3.0
Installation art breaks away from the singular object, the pedestal and the detached viewer. Through this work, it is possible to engage the viewer using all the senses. This studio course will provide the opportunity to work with materials and methods not traditionally associated with the visual arts. Lectures and research will focus on perceptionÑhow we understand the world through sight, smell/ taste, the sense of hearing and kinesthetic cues received from the body. The information provided will provide an environment of concepts to support and challenge the studentÕs work . Students will develop installations in line with their interests and concerns. Open Elective. 3 credits.expand collapse
While at CIA, you'll learn from the masters through our rigorous, world-class curriculum and connect with working professionals to begin your career.