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Drawing
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Television and film writer teaching narrative writing at CIA

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CIA Exhibition: Aug 28, 2014

2014 Faculty Exhibition

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Painting chair curates exhibition exploring art, materials

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Mizoguchi's Greatest Decade

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Lunch On Fridays: GM Design

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Filmmaker and author John Waters to present one-man show

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Events: Oct 18, 2014 @ William Busta Gallery in Cleveland, OH

A Creative Life featuring Paul Yanko

Academics . Drawing . Courses

Drawing Courses

Criticsm as Studio Practice

Course No. VAT 241-341-441  Credits: 3.0

This course will be of interest to all students maintaining a studio practice and focuses on the role of critical dialogue in forming and informing studio production. Through modern and contemporary models, students will be asked to consider the relationship between what is critically said about a work of art and how that frame effects the work's standing in the world. Examples to be considered will include: Apollinaire and Picasso; Pollock and Greenberg; Andy Warhol's practice; Andre Serrano's Piss Christ; Robert Mapplethorpe's work; Chris Ofili and the Young British Artists; and the television show "Work of Art." Students will develop and participate in projects extending from these models as well as giving an intensive look at their own practices and how what they make is changed by the critical dialogue which surrounds making in an academic environment. This course is open to all students.

Custom Micro-Computing: Objects, Electronic Handicrafts

Course No. VAT 23X-33X-43X  Credits: 3.0

The conception and making of art and design objects that interact with people through the use of micro-computing and sensors will be covered in this class. Explore the use of micro-processors, electronic sensing devices, conductive threads, custom sound circuits and various forms of reactive behaviors to create objects, sound and light instruments, textiles and situations. Building relationships between objects and the programs that control them, this class will uncover an underlying conceptual framework on interactivity. Guided discussions will include theories on participatory art, the organic connection of patterning codes between computer technology and textile structures, and interactive media in spatial, social, and psychological terms.

Drawing as Image, Process, and Plan

Course No. DRG 21X-31X-41X  Credits: 3.0

Initial projects of the course will focus on the construction of a drawing utilizing a variety of sources including: observation, historical reference, photographs, digital images, and the imagination. Discussion will focus on contextualizing the drawing as object, locating it through the study of pertinent theory and history. In further projects students will consider the drawing as part of a larger process in developing 2-D images through a variety of media. Important to this discussion will be concerns of composition, scale, and media and their relationship to concept and content. Students will then research artists who have utilized drawing as a planning tool for film, sculpture, and other media. The focus of these projects will be on how the drawing aids the artist in conceptualizing a form in space and time.

Drawing Beyond Observation

Course No. DRG 221-321-421  Credits: 3.0
Faculty Amber Kempthorn | Michael Meier

This course will explore strategies for representation beyond direct perception, moving past the use of the traditional still life, landscape, or model as subject. How can a drawing describe the world that is beyond the range of our common visual observations? Different approaches to drawing, including free-association, metaphor, and mapping are explored to help define and circumvent personal barriers. Required for Junior Drawing Majors.

Drawing Images: Series, Episodes, and Time

Course No. DRG 27X-37X-47X  Credits: 3.0

Through the many permutations of the discipline such as drawing as narrative, drawing as process, and drawing as animation, the concept of the sequential will be explored. The course will include readings, in-class discussion and critiques, as well as an examination of the practices of diverse artists including William Kentridge, Matthew Ritchie, Judith Bernstein, William Anastasi, and Marjane Satrapi. Assignments will be given that address various methods of describing time through the medium. This course is open to all majors an is cross-listed with VAT.

Drawing Major Day: Drawing in Context

Course No. DRG 415M  Credits: 3.0

What provides the context for a contemporary drawing? Is it the graphic novel or a classical form of figurative representation? Does it find its place in the space of the gallery or on the street? Students will explore the ways in which form and style contribute to the content of their work. Projects are student driven with an emphasis on working with each student to develop his or her ideas through research, exploration, and experimentation. Museum and gallery excursions and visiting artists are regularly scheduled to expose students to historical and contemporary artwork and practice. Required for Senior Drawing Majors.

Drawing Thesis

Course No. DRG 430  Credits: 3.0

Building on understandings of narrative, systems and context, students will work towards the creation of a final BFA thesis. Through working in the studio, students will build a coherent understanding of the process, content, and context for their artwork as drawing. Students will produce works in response to topics, and through critique, readings and discussion, come to an understanding of how they function in their own work. Required of all senior drawing majors and open as an elective with the prerequisite of Illusionism or through permission of instructor and department chair.

Drawing: Internship

Course No. DRG 399-499  Credits: 0.0

Elective credit can be given on a case-by-case basis for an internship developed by student through the career services office, with advance permission of instructor and head of department.

Meet Your Professors view all

Sarah Kabot sarahkabotart01.jpgsarahkabotart02.jpg

Sarah Kabot

Assistant Professor/Chair of Drawing

Sarah's work has been exhibited in galleries such as Vermont Studio Center; the Cultural Center of Polecni, Pi...more

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