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Painting
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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: about 6 hours 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 . Painting . Courses

Painting Courses

Aesthetics, Style, and Content

Course No. VAT 300  Credits: 3.0
Faculty Christian Wulffen | William Lorton

Aesthetics Style and Content focuses primarily, on the acquisition of creative and technical skills in the context of the development of original ideas and personal style. Studio work will consist of the practical exploration of the relationship between formal, technical, aesthetic, and stylistic issues relative to the personal, and thematic subjects of the students own choosing. Relative to this, in the seminar portion of the course the students are given critical, theoretical, philosophical background to issues surrounding the subjects of style, aesthetics and content. In the studio the students are encouraged to think of their work as an integrative whole consisting of these various components. In this context they are required to engage in independent critical research on topics relevant to their work. Their research takes the form of both archival and studio work and is presented in both visual and written form. This course is required for all junior students in VATe during their spring semester.

BFA Statement + Exhibition

Course No. VAT 493  Credits: 3.0
Faculty Christina Cassara | Lane Cooper | Sarah Kabot

This course is designed to assist the student in preparing their short exhibition statement, BFA Thesis Paper and in general prepare for their final BFA Exhibition and Defense. In the BFA Thesis Paper, students are asked to examine their work and thinking within varied frameworks. This paper is meant to prepare the student for their BFA Oral Defense and provide the foundation for professional proposals beyond graduation. It is an opportunity for an in-depth consideration of work and personal studio practice. The length of the Thesis Statement Paper varies but excluding endnotes, bibliography, illustrations and other addenda, the paper should be no fewer than 1500 words and no more than 2500 words. Within the paper and among other questions, students are expected to address: “What is the work? What is the reasonable expectation for how it will be received by a given audience? What is the work’s historical and contemporary context? What are the sources for the work? What choices were made in realizing the work and how to they contribute to the reception of the work?” This course is open to all seniors regardless of major and is required by all Visual Arts Seniors. Offered spring.

Collage + Assemblage

Course No. VAT 212-312-412  Credits: 3.0

Collage and Assemblage are among the most radical innovations of the early 20th century and these forms remain relevant today as sources for innovation and experimentation. Each of these forms acknowledges the fracture of contemporary life and the ongoing need for new means of expression. This course will explore the relationship between collage and assemblage and various disciplines within the visual arts including Painting, Print, and Drawing. Students will learn to discern the significantly different effects and content of the wide range of strategies these approaches encompass. Through classroom discussion, lectures, readings, critiques and studio work students will explore the possibilities available through collage and assemblage. Emphasis will be given to the historical and contemporary studio practices associated with collage and assemblage. This course is open to all students from all majors. Students will be encouraged to apply their area of expertise to the studio work.

Color, Scale, Mark, and Form

Course No. VAT 328-428  Credits: 3.0

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.

Critical Issues in Art in Theory + Practice

Course No. VAT 316-416  Credits: 3.0

This class will focus on how the relationship between the visual and the verbal, images, and ideas play out in artist's work. Emphasis will be placed on artist statements, writings by artists, student peer reviews, and written statements. Students will be expected to hone their abilities to think critically about visual art through weekly readings and writing assignments. This course is open to majors from all disciplines and students will be encouraged to work in their area of expertise.

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.

Fiber/VAT: The Artist + Social Practice

Course No. VAT367/467  Credits: 3.0

This course explores a realm of artistic endeavor apart from the Western canon and the gallery art system. As such, students will work within the greater social context, applying their skills to pressing issues such as urban decay and poverty, ecology (brown fields, waste, pollution) violence, and other issues stemming from contradictions between the wants and needs of the individual and the wants and needs of the greater society. Histories of artists working in these arenas will provide a starting point and a model for student work. Each student will research issues that are of personal concern, present their findings to the class. This will be followed by discussions around problem solving and efficacy of action. Projects will then be developed and implemented.

Meet Your Professors view all

Lane Cooper lanecooperart01.jpg

Lane Cooper

Associate Professor/Chair of Painting

Lane Cooper is an artist, who works through painting, sound, video, text and, on occasion, performance. Her wo...more

Cores + Connections

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Community Works

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

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