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Academics . Painting . Courses

Painting Courses

BFA Thesis + Statement

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

This course is meant to supplement the work done in the student’s major studio classes. It focuses on preparing the BFA candidate for their exhibition, BFA Thesis Paper, Short Artist’s Statement and BFA Thesis Examination. The BFA Review process is comprised of four components: Documentation; Exhibition; BFA Thesis Paper and Short Artist’s Statement (Abstract); and BFA Thesis Examination (Oral Defense/Review). As part of the course, these requirements will be reviewed in technical terms as well as in the context of professional practices in general. The BFA thesis paper is meant to prepare the student for their BFA thesis examination and to provide the foundation for professional practices beyond graduation. It is an opportunity for an in-depth consideration of work and studio practice. 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 do they contribute to the reception of the work?” This course is open to all seniors regardless of major but is required by all Visual Arts seniors. Offered spring.

Collage + Assemblage

Course No. VAT 212-312-412  Credits: 3.0
Faculty Anthony Ingrisano

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.

Criticism 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.

Hybrid Approaches to Drawing + Painting: Digital Media

Course No. VAT 327  Credits: 3.0
Faculty Joseph Minek | Lane Cooper

Emphasis is on integrating digital processes into studio practice and production. The class deals with a spectrum of digital applications in a studio practice including straightforward digital output, using digital technology as a means of producing source material as well as actually integrating digital processes into the production of work. Through slide presentations, viewing actual work, discussions, and readings, students will be introduced to the place of the digital in contemporary studio practice. In studio production, students will use varied media and subjects, both traditional and non-traditional, to further develop their analytical and expressive means in their creative practice. Students are encouraged to draw from many disciplines incorporating them in the projects presented to the class for group critiques. Open to all students; required of Printmaking and Drawing juniors. Offered fall.

Image + Form I

Course No. VAT 200  Credits: 3.0
Faculty Amber Kempthorn | Daniel Tranberg | Sarah Kabot | William Lorton

Promotes a general understanding of how images work and are developed, which is a fundamental aspect of the visual arts. The course introduces students to the various means by which images can be rendered, such as by drawing, painting, carving, embroidering, etching, etc., as well as by digital means, by appropriation, and by the use of ready-mades. The students are also introduced to the diverse ways in which images and forms can be manipulated, or manifested conceptually and materially by exploring the inter-relation between 2 and 3 dimensions, as well as in time-based media by the use of collage or assemblage. In doing this, we introduce students to the concept that an image’s “form,” consisting of its physical and spatial qualities, as well as the technical qualities of their chosen mode of production, is part of its content. By these means they are introduced to the practical and semiotic nature of images and their production in the context of the contemporary by means of assignments, readings, discussions, and studio critiques. Open as elective to all majors. This course is required for all sophomore students in Visual Arts. Offered fall.

Image + Form II: Reproducibility

Course No. VAT 202  Credits: 3.0
Faculty Maggie Denk-Leigh | Sarah Kabot

Reproducibility (offered with an emphasis on either 2D or 3D production) introduces the student to the idea that the uniqueness of the work of art is not an intrinsic or inherent quality of the work itself, but the result of the choice of media. Consequently since the Renaissance and the advent of Printmaking, the printing press, and bronze casting, multiplicity and reproduction have been a part of western culture. The machine age, photo-reproduction, lithography, industrial standardization, modularity, fabrication, and multiplicity became part of artistic practice. Prints, posters, ready-mades, objects, books, commix, and designed utilitarian objects editions, multiples, modules, and reproductions are now a significant aspect of contemporary art making which abandons the notion of the unique work Making works of this kind requires the artist to take into consideration the how the act of reproduction, or replication constitutes part their workÕs form and content. Open as elective to all majors. This course is required for all sophomore students in VATe. Offered spring.

Installation + The Constructed Object

Course No. VAT 226-326-426  Credits: 3.0

This course is a special topic course designed to cover the design, construction and lighting of installations, stage sets, and performance spaces. Students will investigate contemporary applications and approaches to subjects specifically composed for the camera and document installations that exist outside of the studio environment, with an emphasis on the genre’s relationship to historical and contemporary theatre. Workshops include cameras, studio lighting, basic electricity and carpentry, with an emphasis on scenery design. Students will plan and create small-scale models of stage designs; scale-up these designs, and document their design. This course is designed for the Photography major and any students working in installation or industrial design but is open to all majors. This course is cross-listed with Visual Arts. Open studio elective.

Intro to Painting: Painting History: 1828-Present

Course No. PTG 221  Credits: 3.0
Faculty Lane Cooper | Michael Meier

This is a beginning painting course. It is a prerequisite for painting electives and all advanced painting courses. This course introduces students to painting through historic painting practices and conventions using oil-based paint as the primary material. Students are asked to approach painting pre-photographically (as if the year were 1828). Students are introduced to the fundamentals of a traditional painting practice with an emphasis on observational rendering and applied color theory beginning with Newton. Students will learn about color mixing, brush types, support construction and general canvas preparation. Students will paint from life learning how to capture the three- dimensional world on a two-dimensional surface as well as how to use material working through shape, form, texture, and mark to create an illusion of space and mass. Through critiques, discussions, readings, slide presentations, and museum visits, students will develop vocabulary and critical thinking skills essential to their studio practice as well as a sense of the history of painting leading to contemporary practices. Offered fall.

CIA's application fee waived Nov. 1-Jan. 31

CIA's application fee waived Nov. 1-Jan. 31

Get started here.

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Christopher Whittey

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Christopher Whittey is currently Vice President of Faculty Affairs and Chief Academic Officer at the Cleveland...more

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