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Story: Sep 26, 2014

CIA's Community Works series focuses on socially engaged art...

View details 2014 Faculty Exhibition

CIA Exhibition: Aug 28, 2014

2014 Faculty Exhibition

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Story: Sep 22, 2014

Television and film writer teaching narrative writing at CIA

View details Lunch On Fridays: Haishan Deng

Events: Oct 03, 2014

Lunch On Fridays: Haishan Deng

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Social: a day ago via Facebook

Rachel Lamping '14 won first place and the audience favorite award at the California International Animation Festival 2014 for her 2D animation, "Different Not ...

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Story: Sep 16, 2014

CIA Professor Tina Cassara inspires Sculpture Center exhibit...

View details CIA Portfolio Day

Events: Oct 11, 2014

CIA Portfolio Day

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Story: Aug 27, 2014

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

View details A Creative Life featuring Paul Yanko

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

A Creative Life featuring Paul Yanko

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Blog: Sep 30, 2014

Bound by Flesh (2012) trailer

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Story: Aug 18, 2014

CIA again named to "Best in the Midwest" list

View details Unruly Engagements Conference

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

Unruly Engagements Conference

Academics . Courses

Courses Courses

Art Since Abstract Expressionism

Course No. ACD368X.1  Credits: 3.0

Abstract Expressionism. the first grand American art movement, is by now well understood. But what happens after that? That question is difficult to answer. We will look at earth art, minimalism and pop art in the 1960s, focusing on the role of Andy Warhol. We will pay special attention to the art and writings of Robert Smithson, and to such figures as Gordon Matta-Clark and Bas van Ader. Then we will consider how abstraction became an ongoing tradition, studying the painting of Robert Ryman, Robert Mangold, Brice Marden, and the most important abstract painter of this period, Sean Scully. In the 1980s, figurative art was revived. We will look at such figures as David Salle and Julian Schnabel. In this period, feminism became very important both for the theory and the practice of art. We will focus especial attention on the photography of Cindy Sherman. The past twenty years remain very hard, still to understand. What new movements and individual artists have emerged? And how has the role of art writing changed? We will offer tentative answers to these questions. Three essays are required. There is no final exam. Visual Culture Emphasis course. 3 credits.

Art Writing

Course No. ACD303  Credits: 3.0

How do we describe visual works of art in words? The aim of this course is to introduce some models of art writing, discuss the theory of this important activity, and then get the students to practice that activity by writing about the art of some CIA senior painters. We begin with an historical study of the How do we describe visual works of art in words? The aim of this course is to introduce some models of art writing, discuss the theory of this important activity, and then get the students to practice that activity by writing about the art of some CIA senior painters. We begin with an historical study of the practice of art writing. Then we focus on the theories of art writing developed by some influential contemporary art critics. Finally, we arrange for these CIA painters to visit the class, talk about their art, and then make appointments to talk with students in the class. Visual Culture Emphasis course. 3 credits.

Artist as Author

Course No. ACD482X.1  Credits: 0.0

This course will investigate the differing practices and modes of thought that intersect the practice of the Artist. To do this the course will track the analogous discourse concerning authorship that begins with the advent of Modernism and contributes significantly to the development of╩ Post-Modernist - Thought.╩ By constructing a genealogy of those theorist who have most significantly╩ addressed the question╩ What is an Author,╩ this question will not only permit students to build a model of authorship for themselves, but also come to an understanding that discourses are tran-historical and emerge from one generation addressing the concerns of another.╩╩ This will permit them an insight into the historical development of theory, practice and thou ht╩ how these╩ produce differing though not necessarily opposing stances that both form and objectify our self-conception ( subjectivity). Visual Culture Emphasis course. 3 credits.

Artist's Book Now: Artist's Book as Image

Course No. PRI 231-331-431  Credits: 3.0

This studio course focuses on boundaries of book form, emphasis on image and concept, and selection of appropriate form [output] to content. Students will be encouraged to view the book as a conceptual space. Deeper development of sequencing and narrative in traditional and nontraditional formats. Forms covered on individual project basis as dictated by idea/concept for appropriate output/manifestation. Considerations include sculptural, installation, digital output, etc. Examples and contemporary developments regarding the evolution of the artist book are examined through texts, through the use of our library's artist book collection, in discussion, and during critiques. Notes: This course is open to all, and fulfills an introductory, intermediate and advanced level elective course.

Artist's Book: Narrative + Form

Course No. PRI 232-332-432  Credits: 3.0
Faculty Jennifer Craun

This studio course is for students interested in producing sequentially developed imagery via linear book structures. Historical examples and contemporary developments regarding the evolution of the artist book are examined through texts, through the use of our library's artist book collection, in discussion, and during critiques. Due to technological advancements over the last century artists now have a variety of media with which to explore output of book projects. The class will expose students to the nature and potential of different book structures as well as a variety of materials. The course will heighten the student's ability to utilize the interaction of sequenced content -- the act of turning pages-- to express the continuity of an idea flowing through a continuum. Students realize the potential of narrative, sequence, and pacing, together with the importance of combining word and image. Note: Open Elective. Required for Fourth Year Print Majors.

Arts Journalism

Course No. LLC 205WX  Credits: 3.0

In this elective course, students will study various forms and stages of writing about art for publication. In addition to reading and discussing effective examples of published writings on art, students will produce a total of 20 pages of writing throughout the semester in the form of reviews, interviews, profiles, and feature stories. Students will alternately function as writers and editors as they produce written work that is expressly conceived and shaped for publication. Through reading and writing assignments, discussions, and in-class exercises, students will gain a well-rounded knowledge of arts journalism from multiple vantage points: as readers, writers, and editors. Students will gain experience in producing finished articles that can be published online through various websites and blogs, eventually including CIA's own online journal. As a Sophomore writing elective, this course will fulfill LLC 104 requirement and also serve as a valuable component of CIA's new writing concentration. Fulfills Humanities/Cultural Studies distribution requirement. Creative Writing Concentration course.

Asian Art Survey

Course No. ACD 372  Credits: 3.0

This course serves as a "survey" or a window for the art of multiple cultures. This lecture/exercise/discussion-style course explores the art and visual culture of Asia, focusing on India, Japan and China. Political, religious, social, and visual aspects of art will be stressed in class. In order to understand the art and civilization of these three countries, we will look at art objects ranging from ancient archaeological finds, medieval architecture to modern and contemporary art. Subjects such as women artists, performing arts and animation will also be discussed in this course. The content of this course will be generally divided into pre-Modern, Modern, and Contemporary eras in which art and visual culture will be discussed with geographic perspectives. As the semester progresses, some additional readings and films may be assigned. Each student is encouraged to find examples learned in the course and apply them to his/her intellectual development. Visual Culture Emphasis course.

Autobiographical Narrative in African Literature

Course No. LLC 207W  Credits: 3.0
Faculty Olatubosun Ogunsanwo

This course consists of six first-person accounts, which highlight the socio-historical and psychological significance of the autobiographical narrative in the black experience. The autobiographical mode is one of the predominant forms of literary expression in black literature, dating back to the "slave narrative" of the eighteenth century, just as it is in the hands of African artists a prominent literary form that is characterized by its predominantly collective and communal narrative voice. The course will focus on the interface between individual life-story and collective (social) history. It will also consider in the postmodernist sense the thin line between fiction and history (art and life), while exploring individual consciousness as an art of rhetorical self-definition and subjectivity. The last two books include two generational responses to womanist issues; and both of them problematize the autobiographical art-form. There are six videos primarily to provide socio-historical background to the course. The videos, as visual texts, are also meant to create a critical interface with the 6 literary socio-constructs, with a view to stimulating your deep insights into the course. Fulfills Humanities/Cultural Studies distribution requirement. Creative Writing Concentration course.

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