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Drawing

Academics . Drawing . Faculty

Drawing Faculty

Sarah Kabot sarahkabotart01.jpgsarahkabotart02.jpg

Sarah Kabot

Title Associate Professor | Chair of Drawing
Department Drawing
Phone 216.421.7931

Courses  100 Drawings | BFA Statement + Exhibition | Drawing I | Drawing II | Illusionism: Intro to Drawing | Image + Form I | Image + Form II: Reproducibility

Degree MFA, Fiber, Cranbrook Academy of Art; BFA, University of Michigan

Sarah's work has been exhibited in galleries such as Vermont Studio Center; the Cultural Center of Polecni, Pieksamaki, Finland; Reinberger Gallery, Cleveland Institute of Art; and SPACES gallery, Cleveland, among others. Her awards have included a CAA Tuition Grant (2000-2002); a Merit Scholarship and Grant to the Vermont Studio Center (1999); and a Merit Scholarship for the University of Michigan (1998).

Anthony Ingrisano

Anthony Ingrisano

Title Assistant Professor
Department Drawing
Phone 216.421.7000

Courses  Collage + Assemblage | Drawing I | Drawing Major Day: Drawing in Context | Drawing: Style Context | Material Color | Painting After the Photograph: Painting in the Age of Mechanical Reproduction | Painting Seminar: Contemporary Issues in Painting

Degree MFA, Pratt Institute

Anthony Ingrisano is an instructor in CIA's Painting and Foundation departments. Ingrisano shows with Lesley Heller Workspace in New York. Before he started at CIA, he taught at Briarcliffe College. He was a contributing essayist to Sharon Louden’s book, Living and Sustaining a Creative Life. He earned an MFA from Pratt Institute.

Amber Kempthorn

Amber Kempthorn

Title Lecturer
Department Drawing
Phone 216.421.7000

Courses  100 Drawings | Drawing Beyond Observation | Drawing I | Drawing: Style Context | Image + Form I | Visual Arts: Aesthetics, Style + Content

Degree MFA, Sculpture, Cranbrook Academy of Art; Post Baccalaureate Certificate, Maryland Institute College of Art; BA, Art, Hiram College

Artist Amber Kempthorn explores memory and cultural mythology through drawing and collage. Her work is exhibited regionally and nationally. She is a graduate of Hiram College, the Maryland Institute College of Art and the Cranbrook Academy of Art, where she received her MFA in Sculpture in 2008. Amber has been an adjunct member of the faculty at the Cleveland Institute of Art and the College of Wooster since 2011.

Zachary Smolko

Title Technical Specialist
Department Drawing
Phone 216.421.7000

Michael Meier

Title Lecturer
Department Drawing
Phone 216.421.7000

Courses  Drawing Beyond Observation | Drawing I | Drawing II | Figure Drawing | Illusionism: Intro to Drawing | Intro to Painting: Painting History: 1828-Present | Painted Bodies: The Contemporary Figure | Senior Studio: BFA Research

Mike Meier is a painter from Cleveland Ohio whose work investigates interiority and multiplicity. He received his BFA from the Cleveland Institute of Art and obtained an MFA from Washington University in St. Louis. He currently holds a position as Lecturer at the Cleveland Institute of Art in Visual Arts and Foundation. His work has been exhibited in Cleveland, Chicago and St. Louis.

Christian Wulffen christianwulffenart01.jpgwulffenchristiannsvcfall20123.jpg

Christian Wulffen

Title Professor
Department Drawing
Phone 216.421.7931

Courses  Charette: Self + Other Voices | Drawing Beyond Observation | Drawing I | Drawing II | Systems Drawing | Visual Arts: Aesthetics, Style + Content

Degree Freie Kunstschule (Independent Art School) Nurtingen (Germany)
Academy of Fine Arts at the Staatlicen Akademie der Bildenden Kunste (State Academy of the Fine Arts), Stuttgart (Germany) MFA

Christian Wulffen has been an Associate Professor since 2003.

He has a solo exhibition on display at Galerie Reinhold Maas in Germany from February 15-April 5.

Artist Statement:

I am concerned with how artists achieve knowledge and how they structure knowledge. This intersects with my concern as a teacher and artist, to encourage participants to reflect on the processes that an artist goes through--for example, an intuitive creative thinking process, intentional purposeful engagement, and adherence to a model or system.

These thought processes can be contextualized further by situating them within larger theories of knowledge production, as outlined by W. J. T. Mitchell: “semiotics, structuralism, deconstruction, system theory, speech at theory, ordinary language philosophy and now image science or critical iconology”.

To convey this notion of action as a mode of knowledge production, I use specific symbols for my work, one of these: boards that are pre-manufactured with three vertical slots and one horizontal slot (plywood).

From the viewer’s perspective, the board has the option to hold various information. From my perspective, I see this as a concept to display information to exercise the different links in its display from one board to another. My environment is a grid—one of the hallmarks of modernist abstraction and capable, as a visual symbol, of signifying a whole system of art production and thought. This idea is depends on the perspective of the viewer and how that viewer is situated in a distributed network of production and reception of the information about this subject.

Crucially for me, the painting, the paper, and the board (as in my recent production), simulate the portability of information. I am interested in its mobility as a sign in which sender and recipient receive the same information but decode it differently depending on their respective environments.

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