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Story: Oct 21, 2014

Senior curates exhibition of current students, recent grads ...

View details Adam Markanovic: No Body to Love

CIA Exhibition: Oct 17, 2014

Adam Markanovic: No Body to Love

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Story: Oct 20, 2014

CIA grad transforms Corvette into canvas on wheels

View details Unruly Engagements Conference

Events: Nov 06, 2014 @ Cleveland Institute of Art in Cleveland, OH

Unruly Engagements Conference

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Social: a day ago via Facebook

What does it mean in contemporary art and design to be socially engaged? Cleveland Institute of Art invites you to attend an international conference November 6...

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Story: Aug 27, 2014

New residence hall welcomes first-year students in comfort, ...

View details Opening Reception Community Works: Artist as Social Agent

CIA Exhibition: Nov 07, 2014

Opening Reception Community Works: Artist as Social Agent

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Story: Aug 18, 2014

CIA again named to "Best in the Midwest" list

View details Fall 2014 Open House

Events: Nov 15, 2014

Fall 2014 Open House

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Story: Jul 23, 2014

Professor's productive year saw exhibitions, acquisitions, r...

Academics . Courses

Courses Courses

Professional Practices

Course No. GEN 398  Credits: 3.0
Faculty Adrian Slattery | Barry Underwood | Daniel Cuffaro | Maggie Denk-Leigh

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.

Professional Standards in Illustration

Course No. ILL 370  Credits: 3.0
Faculty Larry O'Neal

Introduction for junior students in dealing with professional standards set by the Illustration market place. Concentration on the preparation of art work to meet the demands required for successful application for client needs. Students will gain an appreciation for deadlines, client expectations and business practices in collaboration of real-world scenarios. Offered fall and spring.

Propaganda: Media, Dissemination, Technique

Course No. PRI 240-340-440  Credits: 3.0
Faculty Maggie Denk-Leigh

From punk bands to political rallies, different techniques have been used to create attention- grabbing graphics. Through a variety of projects in this course, students will explore a range of techniques including approaches to screen-printing from simple stencil making methods; direct drawing on the screens; to a variety of ways to use photo emulsion, including the integration of digital imaging software. The emphasis of this class is the development of rich personal imagery and the relationship of form working with content to effectively communicate ideas. This course is for students from all levels and majors. Notes: Open Elective. Encouraged for Third/Fourth year students as an Elective Studio. Required for Fourth Year Print Majors.

Ptg & The Photograph: From Delacroix to Richter

Course No. PTG231.1  Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present

Painters going back as far as Renaissance have used devices such as the camera obscura to produce two-dimensional depictions of the three dimensional world. With the invention of photography in 1839, artists were liberated from the demands of reproducing naturalistic appearances. This course explores the relationship between the photographic and painting; the effect that the birth of photography has had on the history, and the current state of painting. A primary question to be considered is what are the strategies of Painting in the Age of Mechanical Reproduction? How has photography and mechanical reproduction influenced Painting? We will look at artists as varied as Delacroix, Courbet, Warhol, Rosenquist, Tuymans, Richter, Struth, Gursky, among others. Readings will include readings from authors such as Sontag, Benjamin, and Barthes. This course is open to all non-Painting major students as an elective. Required for Junior Painting Majors.

Ptg & The Photograph: From Delacroix to Richter

Course No. PTG331.1  Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present

Painters going back as far as Renaissance have used devices such as the camera obscura to produce two-dimensional depictions of the three dimensional world. With the invention of photography in 1839, artists were liberated from the demands of reproducing naturalistic appearances. This course explores the relationship between the photographic and painting; the effect that the birth of photography has had on the history, and the current state of painting. A primary question to be considered is what are the strategies of Painting in the Age of Mechanical Reproduction? How has photography and mechanical reproduction influenced Painting? We will look at artists as varied as Delacroix, Courbet, Warhol, Rosenquist, Tuymans, Richter, Struth, Gursky, among others. Readings will include readings from authors such as Sontag, Benjamin, and Barthes. This course is open to all non-Painting major students.

Ptg & The Photograph: From Delacroix to Richter

Course No. PTG431.1  Credits: 3.0
Prerequisite(s) Intro to Painting: Painting History: 1828-Present

Painters going back as far as Renaissance have used devices such as the camera obscura to produce two-dimensional depictions of the three dimensional world. With the invention of photography in 1839, artists were liberated from the demands of reproducing naturalistic appearances. This course explores the relationship between the photographic and painting; the effect that the birth of photography has had on the history, and the current state of painting. A primary question to be considered is what are the strategies of Painting in the Age of Mechanical Reproduction? How has photography and mechanical reproduction influenced Painting? We will look at artists as varied as Delacroix, Courbet, Warhol, Rosenquist, Tuymans, Richter, Struth, Gursky, among others. Readings will include readings from authors such as Sontag, Benjamin, and Barthes. This course is open to all non-Painting major students as an elective.

Ptg as system, Method, Organism, & Concept

Course No. PTG326.1  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.Ê 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.

Ptg as System, Method, Organism, & Concept

Course No. PTG426.1  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.Ê 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.

Cores + Connections

Our connections are your connections.

While at CIA, you'll learn from the masters through our rigorous, world-class curriculum and connect with working professionals to begin your career.

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Community Works

Visiting artists, exhibitions, conference and symposia exploring socially engaged art.

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Uptown Residence Hall

Check out the new student digs.

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Cores + Connections

Learn more about CIA's proven method for academic and professional excellence.