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Art & Design from the Cleveland Institute of Art
Citation preview
makesomething
6 introduction 14 majors & programs
186 our faculty 204 cia alumni 218 campus map 222 student life 230 get started
242 index
230 Apply232 Your Portfolio 234 Financing Your Education236 Resources for Tuition Support238 Academic Services240 Next Steps
16 Foundation 24 Liberal Arts32 Animation40 Biomedical Art48 Ceramics56 Communication Design64 Drawing72 Enameling80 Fiber + Material Studies88 Game Design96 Glass
104 Illustration112 Industrial Design120 Interior Design128 Jewelry + Metals136 Painting144 Photography152 Printmaking160 Sculpture168 T.I .M.E .–Digital Arts176 Video
It’s all about your future and your art. You’re making decisions that will take you on a true adventure; one
that can lead you to a spectacular creative career. Getting there requires
a community—a creative community that is dedicated to turning your
artistic vision and thirst for creative expression into reality.
At the Cleveland Institute of Art we have a 128-year track record
for doing just that.
The Mission of the Cleveland Institute of Art : To nurture the intellectual, artistic and professional
development of students and community members through rigorous visual arts and design education.
6 cia.edu/admissions 7
CIA is dedicated to teaching artists and designers.
With 19 majors that encompass design, visual arts, craft, and integrated
media, we’ve built a hub of creative energy that can take you daily
into the studios and classrooms where you will learn, create, change,
and lead an artistic life.
CIA
Our resources are chosen for your success—inside and outside the
classroom. We bring in visiting artists that influence you, offer tools
that inspire innovation, and structure our environments for your
creative exploration.
8 cia.edu/admissions 9
B r i o n H a r d i n k ’ 10
CIA faculty are collaborators who reach across
disciplines to engage their students in new
techniques and the latest in technology and
to share the breadth of knowledge in other
majors. For example, if you choose to major
in Communication Design, you may apply your
graphic design skills to package design for our
Industrial Design students. Or, if you are a Glass
major, you may work with our Jewelry + Metals
majors to add a metalsmithing technique to your
projects. Learn more about our faculty, their
artwork and approach to classroom and studio
learning on page 186–203.
As a dedicated college of art and design, we
are focused on the ultimate goal of your future
career—making a living doing what you love to
do. Whether you dream of life as a studio artist
or see yourself in a design firm, our reputation
as an outstanding educator prompts many local
and national organizations to contact us with
internship and partnership opportunities. Each
major includes a focus on Professional Practices
and our Career Services department cultivates
internships and offers all the services necessary
to launch students into the professional world
of art and design. We also reach out to develop
relationships for CIA students who want to bring
classroom experience to life in the real world.
Located in the heart of Cleveland’s cultural district,
our campus offers the experience of a true artist’s
community. Our neighbors, collaborators, and
partners are on the creative edge of culture,
technology, and education—and so are we. At CIA
you’ll live in a mix of urban energy surrounded by
University Circle, a park-like setting that houses
the region’s most prestigious cultural, academic,
technology, and health care organizations.
Within two square miles are the world-renowned
Cleveland Museum of Art, Case Western Reserve
University, Cleveland Clinic, Cleveland Botanical
Garden, Cleveland Orchestra and dozens of
museums, galleries and ethnic neighborhoods.
Read more about our neighborhood and campus
life on pages 218–227.
If you like what you see and read, visit us. Walk
though our campus, see students working in
their own studio, talk with faculty, and share your
portfolio. Sign up for a fall or spring Open House
or tailor your own visit.
Contact us at 1.800.223.4700 to set up an
individualized visit, or sign up for one of our
Open Houses at cia.edu/openhouse.
A 9:1 student to faculty ratio
At CIA you have access to some of the most creative minds in art and
design—our faculty. With a 9:1 student to faculty ratio, our close-knit
community encourages collaboration. CIA faculty are practicing artists
who will mentor you and bring you into their network. They’re famous
for engaging students one-on-one, in hands-on studio practice and
dynamic classroom learning.
10 cia.edu/admissions 11
A studio of your ownOnce you declare your major at the end of your freshman year, you will
be given your own studio space to use through graduation. It ’s where you’ll
explore and grow outside the classroom and is located near the resources
you’ll need to complete assignments, develop projects, and create your
final BFA exhibition.
12 cia.edu/admissions 13
The best education is collaborative, innovative and
imaginative—and is right here at CIA. Our curriculum
is based on a depth of learning in each major, combined
with breadth of knowledge in as many areas as we offer.
All first-year students begin with the Foundation curriculum, a yearlong intensive exploration of color, form,
design and creative problem solving. You’ll emerge from the first year on technically equal footing; ready to
concentrate on the study and practice of art and design. Liberal Arts classes weave throughout your four-
year curriculum, teaching you essential communications skills and a solid grounding in art history. In your
freshman year you’ll also take an Environmental Elective—a course that gives you an opportunity to learn
about multiple majors within a shared area of study known as an Environment: Design; Craft + Material
Culture; Visual Arts + Technologies; and Integrated Media. As your sophomore year begins, you will start
taking classes in your major—often chosen as a result of your freshman environmental elective experience.
In your senior year, you will work on a unique capstone experience—your BFA Exhibit. Not many art and
design colleges require this capstone experience, but we believe it is the most important moment in your
professional launch. BFAs take many forms, but are ultimately your gallery exhibit or design pitch. As a
BFA candidate you’ll create a body of work, present it to the CIA community and respond to their critique.
As part of this yearlong project, you’ll also develop an artist statement that explains and frames your vision.
You’ll present as a professional and are critiqued as a professional—with the focus on helping refine an
artistic path before you graduate.
majors & programs
CIA Environments:
Creative Design to Creative Education
One important thought to keep in mind as you
read through our majors: they are strategically
grouped around four core subject areas we call
Environments. The Environment structure is a
unique approach to teaching across majors—
a built-in system of shared resources that offers
a true interdisciplinary approach to art and design
education. Majors that are housed under one
Environment complement each other, offering
an opportunity to share resources and courses.
In addition, your exposure to each discipline in
an Environment will challenge you to think outside
your chosen major to ultimately enhance your
understanding of that major.
Master of Arts in Art Education
CIA’s 4+1 Program
If you’re interested in taking your art and design
talents into a classroom of your own as a K-12
art educator, our academic partnership with our
campus neighbor, Case Western Reserve University
can help you do that. The CIA/CWRU collaborative
program offers the required coursework that leads
to a Master’s degree and licensure in art education.
Once you earn your BFA from CIA, you can apply
to CWRU to become a licensed visual arts teacher
with only one additional year of study. In this
extra year you will have access to the resources
of a comprehensive university as you develop
essential leadership and teaching skills. Through
this program, many CIA students have gone on to
become committed, knowledgeable, and creative
professionals in art education.
Accreditation & Membership
The Cleveland Institute of Art is accredited by
the National Association of Schools of Art and
Design (NASAD), the North Central Association
of Colleges and Schools, and the State of Ohio.
Our Environments are:
Visual Arts + Technologies
Drawing, Fiber + Material Studies, Painting,
Printmaking, Sculpture
Design
Communication Design, Industrial Design,
Interior Design
Craft + Material Culture
Ceramics, Enameling, Glass, Jewelry + Metals
Integrated Media
Animation, Biomedical Art, Game Design,
Illustration, Photography, T.I.M.E.–Digital Arts, Video
14 cia.edu/admissions 15
CIA’s Foundation program will introduce you to the forms,
methods, media and concepts crucial to your future
academic and professional success. All first year students
take a full year of Foundation courses where they develop
and strengthen the fundamentals that support each year
of study throughout the Institute’s curriculum.
Be prepared for lively debates and the camaraderie
that develops as you and your peers work together
in studio. The Foundation experience fosters a
learning environment that is responsive to your
aspirations, as well as to innovations in the world
of art and design. We balance fundamental
approaches with experimentation to develop
your aesthetic sensibilities.
You’ll begin with core courses in drawing, design,
color and digital studies that introduce you to
color, composition, drawing principles and 2D
and 3D materials and processes. Digital courses
and fabrication safety labs build confidence in
your abilities to create. As you work on studio
projects you’ll investigate visual dynamics, creative
processes and issues that inform contemporary
art, design and culture.
We take full advantage of our amazing location
in the heart of Cleveland’s cultural district.
Our classes regularly travel across the street
to the permanent collections of the Cleveland
Museum of Art, through the rainforest of the
Cleveland Botanical Garden or the exhibits of
the Cleveland Museum of Natural History. With
Case Western Reserve University and University
Hospitals located a quick walk across Euclid
Avenue, we are able to tap into some of the
science and healthcare resources that boost
our curriculum.
To help guide the transition from Foundation
studies into the majors, you’ll also have the
opportunity to take an elective class in order
to explore various disciplines in the arts,
crafts and design areas. The elective provides
exposure to help you make an informed choice
about your major and your future career path.
Foundation
Courses:
• Digital Art and Design I & II • Drawing I & II • 2D Design • 3D Design • Design Woodshop Lab • Color
Freshman Environmental Electives: • Craft + Material Culture• Integrated Media• Visual Arts + Technologies• Design
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B r a n d o n P ro m e r s b e r g e r ’ 1 2 23
The Liberal Arts Environment cultivates the intellectual
development of our students as they move through each
of our degree programs.
Our Liberal Arts curriculum is designed to develop
your understanding of many cultures of our world—
both past and present—and discover the importance
of these ideas to the growth of your creative life.
Your four years at CIA include study in the humanities
and sciences. You’ll graduate with a breadth of
knowledge that is the hallmark of the baccalaureate
degree as you take courses in disciplines from art
history to philosophy to anthropology. A singular
feature of the Institute’s Liberal Arts curriculum is our
approach to studying a subject by connecting it to
other disciplines in our program. For example, in your
freshman year at CIA, you will read in your English
classes about ancient and medieval philosophy
and culture while also taking a course in Ancient
and Medieval History of Art. This carefully calibrated
educational experience creates a comprehensive
perspective on a subject that will give you a broad
sense of the trajectory of world history itself.
CIA puts creativity at its center, so our Liberal
Arts curriculum centers on the idea of culture as a
generator of creative ideas. Our students are makers
within their cultures and we have built our own Liberal
Arts curriculum around the creative core of their
learning. The reading and writing that we assign is
crucial to the development of your own artistic ideas.
In addition, as you complete rigorous assignments in
analytical essays and research papers, you’ll become
a strong writer, able to convey your point of view in
tandem with understanding diverse perspectives.
Liberal Arts
Courses:
Foundation Requirements:• Composition: Ideas in Cultural History • Research Methods and the Research Paper:
Ideas in Contemporary Culture• Topics in Design or Forms of Narration • Advanced Writing-intensive Electives • Art History: Ancient–18th Century:
Concepts, Themes and Methods• Critical Issues in Art and Design History:
18th Century–1945• Critical Issues in Art and Design History:
1945–Present• Post–1960s Art and Design Electives
Distributional Requirements: • Intro to African and African-American
Literature and Culture• Intro to Narrative Film • Women’s Words: Studies in the Literature
Written By Women• Avant Garde Film • Avant Garde Film: Montaged “Talkies” • Japanese Expressions • Culture/Conflict/Syncretism in African and
African-American Literature• Neo-Expressionism, Neo-Geo and Postmodernism • American Architecture and Interior Design • Advertising Images • Photo History I: Still and Moving Images:
The Beginning• Photo History II: Still and Moving Images Since 1900 • Folk Art, Minority Art and Outsider Art • The Art of Mesoamerica • Demystifying the Maya • Peru Before Pizzaro • Traditional Tribal Art • The Body: Tradition, Transformation, Transgression• Contemporary African and African-American
Literature• Design and Craft in Modern Culture • Ways of Thought: Hinduism and Buddhism • Ways of Thought: Confucianism, Taoism and Zen • Narrative Art and Mythic Patterns in African and
African-American Literature• Anthropology• Tribe vs. Nation: Political and Cultural Survival • India: Culture and Society• Human Antiquity • Media Arts and Visual Culture: Installation • Media Arts and Visual Culture: Interactive Zones
• Literature of the Americas • Creative Writing Workshop: Dialogue and Story • Fiction Writing • Creativity and Taoism • Art Writing • Film History and Theory: Documentary • Visual Culture and the Manufacture of Meaning • Basic Theories of Psychology • Survey of Contemporary Music and its Relation
to the Visual Arts• Sound Art and New Media • Issues in Design: Theory and Culture
of Design Screenwriting• Contemporary Art: Critical Directions • Visual Anthropology: Ethnographic Film Survey • Poetry Writing • African American Art • Modernism in Latin American Art • On the Same Page: Rhetoric, Design
and Writing in the Digital Age• Race and Representation • Graphic Narratives • Abnormal Psychology • Up Against the Wall: Writing the Revolution
in the American ‘60s• Science Fiction Writing Workshop • Exhibition Theory and the Culture of Display • Contemporary Art: Andy Warhol • Art of China • Legends and Kings: Structures and Uses
of the Narrative• John Cage: His Life, Work and Influence • Art Since Abstract Expressionism • Building Models: Artist, Art (and History)
in the Framework of Theory and Criticism• Naratology and Storytelling • Arts of East Asia • Writing Workshop: Personal Essay • Jazz: Contemporary African-American Writers • Critical Models • Who Owns Art? Issues of Asian Art Collecting • The History of Art History and its Philosophy • Chinese Poetry • Jung and Creativity • Censorship, Art and the Law • Sexuality and Popular Culture in America • Conceptual Art: History, Theory and
Contemporary Practices
24 cia.edu/admissions
R it a G o o d m a n Fac u lt y
Visual Culture Emphasis
This course of study will provide you with the skills
to articulate your understanding of theory and history
of visual culture and incorporate those perceptions
into your own studio work. In the Visual Culture
Emphasis you’ll study 18 credits of designated Liberal
Arts classes in addition to the Foundation Liberal Arts
requirements. You’ll become a stronger writer and
communicator as your studies help you reflect on
how art and design are informed by concept, theory,
and history. Areas of study include new media and
film; non-Western and folk art; contemporary issues
in art and design; art criticism; popular and mass
culture; philosophy and aesthetics; and critical
theory and methods of analysis.
Creative Writing Concentration
If you are an artist or designer who also has been
writing stories, graphic novels, and poems our
Creative Writing Concentration can keep you on
track to grow as a creative writer—while you become
a stronger visual communicator. Or if you plan a
career in illustration, graphic fiction, game design,
or film, and need the career advantage of excellent
writing skills, this Concentration allows you to work
on your writing while you pursue your studio degree.
The Creative Writing Concentration is comprised
of 12 total credit hours (4 courses), taken in the
Liberal Arts Environment. As a final requirement
of the Concentration you’ll create a body of
written work.
Whether you choose to pursue a graduate degree or work
within your major, having one of these endorsements on
your transcript illustrates your extensive training in writing
analytically about art and design, or writing creatively
about your own ideas.
26 cia.edu/admissions 27
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C a rl P o p e Vi s it i n g A r t i s t 31
Courses:
• 2D/3D Compositing • 3D Modeling • Digital Art and Design I & II • Experimental Video • Introduction to 3D Animation • Introduction to Animation • Introduction to Media Production
and Integration• Motion Graphics • Narrative Production I & II • Narrative, Sequence and Storyboarding • Screenwriting • Sound Design • Texture and Lighting • Video I & II • Visual Organization and Media • Web Media Production • BFA Preparation • BFA Thesis and Exhibition
Freshman Environmental Elective• Integrated Media
Careers:
• Commercial animator • Fine artist/animator • Independent animator • Conceptual animation • Educational animation • Graduate study/higher-level
professional training• Rigger • Character designer • Layout artist • Animator • Character animator • Effects (FX) artist/FX animator • Compositor • Production designer • Visual effects supervisor • Animation director • Art director • Storyboard artist • Modeling supervisor
As a student in CIA’s Animation major you’ll harness traditional and digital
technologies to create narrative and experimental animation that brings both
characters and environments to life. Through coursework that integrates
both fine art and the latest industry production techniques, you will develop
the skills necessary to excel in an animation career.
Our faculty will keep you on the cutting edge as you
work with innovative production technologies in 2D and
3D digital media and animation, film, video production
and stop-motion animation. You’ll intensify your skills in
character and set construction through a broad scope
of tactile sculpture media. Enhance your character
design as you study the development of personality
in motion, lighting for small scale of digital environments
and sound related to motion and sync. Our Animation
curriculum focuses on sequential narrative storytelling,
conceptual development, methods of animation (2D,
3D, hand-drawn, stop motion, composite) framing and
staging, storyboarding, animatics, layers and motion
and figure studies.
As an Animation student, you’ll build a strong
foundation in the digital arts while understanding that
technology is the means, not the end. For that reason,
your coursework will also focus on the relationship
between art, design and technology. You’ll also
develop an understanding of historical, cultural and
social framework of animation and digital arts.
We know that your major requires extensive
technology use, so you’ll have access to more than
just our state-of-the-art computer labs. With your
ID card you can check out the latest equipment for
digital video, lighting and sound. And your projects
will look professionally produced with the help of
a motion capture system, a green-screen Chroma
Key studio area, two separate lighting and shooting
spaces and a sound recording studio.
Career success in Animation is also built on
developing real-world experience and strengthening
your communications skills. Each year you’ll have
several opportunities to show your work—to the
CIA community and to industry and fine arts
professionals. In the fall we hold E.M.I.T. Film, Video
and Animation Festival, which features students’
films, videos and animations; in the winter students
enter the juried Student Independent Exhibition held
in the school’s Reinberger Galleries; and all students
exhibit during our annual Spring Show. In addition,
we strongly emphasize presentation and public
speaking skills that prepare you for pitching your
ideas and directing a team.
Animation
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Biomedical Art majors combine artistic talent,
natural science and biomedical intellect with strong
visual communication skills. As a biomedical artist
you will apply your knowledge of media art and
science to visual materials that educate those
interested in science and medical information.
Built on the traditional field of scientific and medical
illustration, CIA’s Biomedical Art curriculum also
establishes skills in leading-edge digital media
techniques, interactivity and animation. Our
program incorporates innovative concepts and
media through the intersection of art, science and
medicine. You’ll learn a versatile set of illustration,
information design, 3D modeling and animation
techniques through both traditional and digital
methods. We’ve designed a curriculum that offers
a lot of flexibility that allows you to take courses
in computer imaging and animation, instructional
design and multimedia, medical sculpture, surgical
and natural science and editorial illustration. And
to add a layer of polish, you’ll develop applied skills
in business and professional practices.
You’ll learn from outstanding faculty whose
training and access to real-world experiences are
unmatched. Each of CIA’s Biomedical Art faculty
are CMI certified—which means you’re learning
from highly-trained professors who are accredited
as Certified Medical Illustrators. Faculty have also
taken advantage of our extraordinary location at
the heart of the region’s leading medical, scientific
and cultural communities to build professional
partnerships with the area’s major medical and
educational resources, including Case Western
Reserve University, University Hospitals Case
Medical Center and the Cleveland Clinic, as well
as the Cleveland Museum of Natural History and
Cleveland Botanical Garden. As a student in the
Biomedical Art program you will benefit from these
partnerships through many real-world experiences
that include projects in medical illustration and
exhibition opportunities.
As a Biomedical Art student at CIA you will
have your own studio space in addition to cutting-
edge digital technologies and high-end computer
resources. The program offers you access to
motion capture technology, 3D modeling tools,
a medical sculpture lab and a suite of other labs
with access to the newest software and tools.
Biomedical Art
Courses:
• Visual Organization and Media• Narrative, Sequence and Storyboarding• Web Presence and Practice• Anatomy for the Artist• Natural Science and Zoological Illustration• Human Forms: Heads, Hands and Feet• Line: Information Visualization• Digital Color: Style and Representation
in Science• 3D Bioforms: Media in Motion• Veterinary Illustration• Interactive Narratives in Biomedical Art• 2D/3D Modeling for Illustration• 3D Textures, Mapping, Digital Lighting
and Rendering• Forensic Modeling and Reconstruction• 2D/3D Compositing• Bioart Ethic and Image Interaction• Macro to Micro Simulation and Story• Visual Mechanisms and Actions• Surgical Narratives in Science and Medicine• BFA Thesis Research• BFA Thesis and Exhibition• Principles of Biology• Comparative Vertebrate Anatomy• Anatomy and Physiology I & II• Microbiology, Embryology or Histology
Freshman Environmental Elective• Integrated Media
Careers:
Graduates in Biomedical Art work within many
broad areas of natural science and medical
industries, educational design, 2D and 3D
instructional animations and video, medical and
scientific textbooks, biomedical advertisements,
serious/educational gaming, professional journals,
educational CD-ROMs, DVDs, web media and
films. Biomedical artists also work within the
following career areas: pharmaceutical, medical
device, veterinary markets, hospitals, universities,
government agencies, medical legal and forensics,
to name but a few.
As one of the few undergraduate programs of its kind
in the country, CIA’s Biomedical Art program is a unique
area of study in a growing field of applied art, science
and technology.
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At CIA we build on the age-old medium of ceramic art
by teaching both the science and the art of its two major
traditions: works of sculpture and works of utility.
We expose students to the rich history of the medium
while exploring clay’s contemporary potential as
a vehicle for the expression of ideas.
As a student in CIA’s Ceramics major you will
create in nearly every aspect of ceramic work.
Your coursework will include handbuilding and
work on the pottery wheel, glaze making, glazing
techniques and loading and firing gas and electric
kilns. Explore ceramic materials in two and three
dimensions through the use of mold work and
multiples in sculpture, studio pottery and ceramic
design. Expand your creativity as you develop
fabrication techniques including press molding,
drain casting, solid casting, casting body
formulation, slip preparation and use, glazing
and surfacing.
Our Ceramics faculty run an interactive open
studio environment that encourages collaboration
and communication between students, peers and
instructors. You’ll share responsibilities for firing,
glaze making and studio upkeep. Once you join
us, you’ll also participate in group reviews and learn
of exhibition opportunities and how to collaborate
with your fellow students.
You’ll work in a completely renovated, sky-lit ceramics
studio space with floor-to-ceiling windows, well-lit
individual studio spaces, large common workspaces
and glazing areas. We are one of the few Ceramics
departments in the U.S. to have a digitally controlled
gas kiln by Blaauw—fully automated and capable
of any firing cycle, oxidation, or reduction. There are
specialized spaces for clay making, glaze making
and testing, plaster working and a large kiln room
complete with three large gas kilns, eight electric
kilns and a raku kiln. Students fire work from six
inches to five feet in height.
Ceramics
Courses:
• Creative Process and Materials Studies• Language and Materials• Craft + Material Culture Core Studios• Image, Pattern and Surface in Clay• The Potter’s Wheel• Intro to 3D Plastic Media• Major Day: Special Projects• Advanced Handbuilding• The Alchemy of Fire and Clay• Sculpture in Clay• The Narrative Vessel:
Basic Ceramic Fabrication• Majolica, The Painted Pot• Raw Materials• Architecture-based Ceramics
and Special Projects• Nature and Structure• Table for Two: The Evolving Rituals
of Food, Utility and Community• The Vessel and Utility• Surface and Content• BFA Statement and Exhibition
Freshman Environmental Elective• Craft + Material Culture
Careers:
Our Ceramics alumni go on to successful
careers as studio artists or designers,
exhibiting in national and international
galleries and museums. Some graduates
become art consultants and conservators
while others go on to graduate school
and into teaching.
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Courses:
• Design for Communication I & II• Typography I & II• Intro Photography• Advanced Design Studio• Production• Graphics for Design• Graphic User Interface I & II• Information Architecture• The Handmade Book• Advertising Art Direction• Contemporary Design Studio• Publication Design• Limited Edition Portfolio Production• Visualizing Information• CIA Design Factory• Bachelor of Fine Arts Thesis• Bachelor of Fine Arts Seminar
Freshman Environmental Elective• Design
Careers:
Our program’s high placement rate is evidence
that our graduates are in high demand.
Communication designers now lead teams
investigating journalism, building identity and
branding and organizing complex information
systems. Communication Design graduates from
CIA work in all aspects of the industry including:
• Book and publication design • Advertising • Web and interactive design • Package and 3D design • Exhibition design • Film and broadcasting design
Communication Design at CIA takes into account the
dramatic changes transforming the graphic design industry
and the importance of clear visual communication. As our
methods of communication become increasingly mobile,
we rely even more on the art of design to communicate
in creative and engaging ways.
Communication Design
In CIA’s Communication Design major you’ll explore
both the innovative and traditional methods of
communication design including typography, print
and web design, package design and signage.
We’ll introduce you to the forms, methods, media
and concepts crucial to creative development,
self-expression and effective visual communication
and production.
While we rely on the latest technology to build
technical skills, our curriculum offers you the
opportunity to explore and grow beyond these
technologies. Your study will range from editorial
and publication design, to the study of event and
exhibition design, design for print, marketing
and advertising, production and interactive and
motion graphics. And you’ll execute your designs
using traditional media as well as contemporary
and experimental media. As you move through
the curriculum you will also build valuable
communication skills and develop techniques
for presenting your ideas and final projects.
Our faculty of practicing designers have created
a working environment at CIA that resembles
a professional communication design studio.
Our new studio includes wireless Internet access,
wireless printing and a full construction area. We
have led a successful pilot laptop program and
negotiated discount prices for Adobe software and
professional-grade Macintosh laptops. As a student
in the Communication Design program you’ll have
complete access to a computer lab, print output
center, presentation areas, woodshop and the metal
shop. And as part of the Design Environment, you’ll
have opportunities to work across the environment’s
disciplines and collaborate with our Industrial Design
and Interior Design students on projects and in
the classroom.
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Drawing today is one of the most creative and dynamic majors available
in the field of art. It encompasses a wide range of forms and approaches
including working on paper in various mediums, to installation, collage,
zines and graphic novels.
As a student in CIA’s Drawing major, you’ll use
traditional and non-traditional materials as well
as unconventional tools to define your aesthetic
identity, as well as challenge your artistic vision
and resourcefulness.
The Drawing curriculum contains several phases
and begins with the investigation of the field and its
historical framework. You’ll be introduced to individual
studio practice—forming a research process and
the development of source material. You’ll master
a visual vocabulary that includes scale, proportion,
perspective, composition, line, mass and modeling
while exploring traditional and non-traditional tools,
materials and techniques. Then we’ll begin to
focus on communication through drawing, which
includes drawing from observation, ideation and
experimental processes.
Next you’ll focus on style and aesthetics and parallel
theories to your own body of work. And you’ll begin
to understand drawing in the cultural frameworks of
pop and common and high culture. In your final thesis
project you’ll work through a comprehensive design
and art process: interest (ideas) research, ideation,
experimentation, evaluation, reflection and refinement
and production.
As part of the Visual Arts + Technologies Environment,
Drawing students share in an integrated curriculum that
will give you a broad knowledge in the visual arts while
strengthening your in-depth conceptual knowledge
of the drawing discipline. Your coursework and studio
practice will be enriched as you pursue collaborations
and shared coursework in the other disciplines that
make up the VAT Environment: Printmaking, Painting,
Fiber + Material Studies and Sculpture. You’ll receive
a wide range of support beginning with a faculty of
professionals with diverse approaches to art-making.
In our professional practices program you’ll develop
small business knowledge that will empower you to
set up your professional studio. You’ll be tutored in
creating your professional portfolio and developing
grant-writing skills. And you’ll learn about the
appropriate communications skills and proper
etiquette necessary for successfully approaching
dealers, curators and collectors.
In addition, you’ll have access to the VAT Environment
artist-in-residence, who is an artist working at the top
of his or her field. This artist teaches regular courses
in the environment as well as working individually with
students. The Drawing department also invites visiting
artists to give lectures and meet with students one
Drawing
Courses:
• Image and Form I: Visual Literacy • Image and Form II: Reproducibility • Aesthetics, Style and Content • Subject, Content and Form • Artist as Producer • Art in the Global Context • Intro to Advanced Observation,
Illusionism and Conceptualization• Drawing Beyond Observation• Major Day: Process and Method • Major Day: Style Context • Drawing as Image, Process and Plan • Figure Drawing • Experiments in Drawing • Drawing Images: Series, Episodes
and Time• 3D Drawing: The Psychology of Space• Hybrid Approaches to Drawing and
Painting: Digital Media• Moving the Line: The Artist as Animator • BFA Statement and Exhibition
Freshman Environmental Elective: • Visual Arts + Technologies
Careers:
CIA’s Drawing major prepares students
for a career as a professional working
artist. Our graduates have gone on to
work as:
• Illustrators • Studio artists • Graphic novelists • Zine authors • Educators • Gallerists
on one. In the spring you have an opportunity to
travel to New York during an annual trip, sponsored
by the VAT Environment, where you’ll experience
firsthand professional galleries and exhibitions such
as the Whitney Biennial and the Armory Show.
Drawing students have generous individual studio
spaces, a well-equipped workshop and excellent
critique space, all within the sky-lit, factory loft space
of the Joseph McCullough Center for the Visual
Arts. The Drawing curriculum culminates with a BFA
exhibition that consists not only of presenting a body
of self-initiated work, but also an oral defense and a
written artist statement. The BFA degree will prepare
you for a career in the visual arts as a professional
artist. While many of our graduates go on to earn
their MFA degrees at pre-eminent graduate programs
to deepen their knowledge of their own practice or
become curator, critic and art administrator, or art
teacher on the K-12 or college level, others follow
entrepreneurial paths pursuing successful careers
as illustrators, designers, creative directors, graphic
novelists, zine authors, set designers, etc.
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Courses:
• Creative Process and Materials Studies• Language and Materials• Craft + Material Culture Core Studios• Image, Surface, Relief• Advanced Projects• Major Day: Advanced Topics• 3D Forms in Enameling• The Printed Image in Enamel• Multiples in Enamel: Limited Edition,
Production and Series • Enamel in the Public Realm• BFA Statement and Exhibition
Freshman Environmental Elective: • Craft + Material Culture
Careers:
As an Enameling major you’ll receive
guidance in discovering a career and
in learning the basics of working as
a self-supporting artist or craftsperson.
While some of our graduates work in
private studios making exhibition pieces,
producing commissioned work and
creating work for gallery and retail outlets,
others have gone on to graduate school,
teaching paths and careers in the
design industry.
The Institute’s focus on enamel is unique among the
nation’s art schools—in the history of twentieth-century
enameling , Cleveland has emerged as a center in the
development of the art form. Noted enamellists from
Cleveland have led the field, developing technology and
publishing numerous books advancing the discipline.
As a result, Enameling majors at The Cleveland Institute
of Art enjoy strong support from both the industry and
patrons devoted to the medium.
Our Enameling curriculum introduces you to a
set of highly technical skills used for centuries
and contemporary techniques of direct painting
and drawing of glass onto metal. We encourage
our students to experiment with the medium.
As a result, the Institute’s Enameling students
are known as innovators who create using
diverse methods, styles and inspirations.
The enamel studio is equipped to support
traditional and contemporary techniques and to
promote your exploration and experimentation.
In addition to offering generous studio space to
students who major in Enameling, our department
provides the fullest range of equipment for the
pursuit of work in any direction within the field.
You’ll also have access to industrial scale
facilities and materials.
The scale of student work in any year may
range from minute to architectural. Both two
and three dimensions are explored and work
may be functional and decorative or conceptual
and content driven. Your fellow Enameling
majors will include artists interested in making
jewelry and objects as well as those interested
in discovering enamel’s potential in other art
forms. Through continual experience and
exposure to the material, you’ll gain confidence
to make innovative advances in technique
and personal expression.
Enameling
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CIA’s Fiber + Material Studies major
is consistently at the forefront of
innovation, challenging expectations
and moving beyond the ordinary. In this
major you’ll explore materiality through
work that ranges from performance and
installation to object-based work.
Courses:
• Image and Form: Visual Literacy• Image and Form II: Reproducibility• Aesthetics, Style and Content• Subject, Content and Form• Artist as Producer• Art in the Global Context• Repeat Pattern Design• The Extended Body: Costume, Prosthetics
and Extensions• Intro Fiber: String, Felt, Thread and Ideas• Silkscreen• Weaving Patterns: Collective Activity• Fashion: Soft Architecture for the Body• Fiber Seminar: Topics in Contemporary
Art/Culture• Material Matters• Custom Micro-Computing: Smart Objects,
Electric Handicrafts and Responsive
Environments • Creative Resistance: Performance
and Media Installation• Installation: The Empire of the Senses• Performance Art: Intervention and Spectacle• The Artist and Social Practice• BFA Statement and Exhibition
Freshman Environmental Elective: • Visual Arts + Technologies
Careers:
Graduates from Fiber + Material Studies
become leaders in a diverse range of careers.
They become textile designers for printed,
woven and knit textiles; toy designers; costume
and set designers; accessory and boutique
clothing designers; art therapists; teachers;
gallery owners. They work in museums as
curators and in textile conservation. Graduates
also continue their education and earn MFAs
in a diverse range of fields: Fiber, Sculpture,
Landscape Design, Museum Studies and
Curatorial Practices and Social Practice.
Artists working in Fiber + Material Studies often
challenge the long-standing hierarchies of art,
notably: the presumption that sight is the primary
road to knowledge; that concept and function
are mutually exclusive; that work of the hand is
of lesser significance and import than work done
with the mind.
Our Fiber + Material Studies curriculum focuses on
core techniques, concepts and processes: stitching,
dyeing, felt making, weaving, silk screen, sewing,
pattern making and computer-aided design. Each
year one or two projects or courses are structured to
intersect and collaborate with classes offered in the
Industrial Design and T.I.M.E.–Digital Arts majors.
As part of the Visual Arts + Technologies (VAT)
Environment at CIA, Fiber + Material Studies
students share in an integrated curriculum that will
give you a broad knowledge of the visual arts while
strengthening your in-depth conceptual knowledge of
Fiber + Material Studies. Your coursework and studio
practice will be enriched as you pursue collaborations
and shared coursework in the other disciplines that
make up the VAT Environment: Printmaking, Painting,
Drawing and Sculpture. In addition, you’ll have access
to the VAT Environment artist-in-residence, who is an
artist working at the top of his or her field. This artist
teaches regular courses in the environment as well
as working individually with students.
As a student in this major you’ll produce diverse
work. You will make work for exhibition, but you
are just as likely to participate in new situations
and conditions: community arts projects, theatrical
productions, design for special needs children,
installation, video and performance.
Our physical environment is designed to encourage
experimentation and creativity. Studios and
classrooms provide a mix of communal and personal
working space that fosters lively exchange among
students with diverse interests and techniques.
All students are given a studio space of their own,
which makes it possible to view and talk about the
work at all stages of completion.
Our studios are our pride, housing a range of
equipment essential to work in the field. We boast
multi-harness and computer-aided looms, large
padded print/work tables, a silk screen exposure unit
with a six-foot bed, a registration system for repeat
printing, computer-aided embroidery machines,
domestic and industrial sewing machines and tailor’s
mannequins. The dye studio has heated sinks and
heavy-duty gas burners that can process large vats
of dye. The vented weigh cabinet is designed for
safe handling of chemicals and dye powders.
Fiber + Material Studies
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Courses:
• 2D/3D Compositing • Digital Art and Design I & II • Digital Texture and 3D Modeling • Game Media Production I, II, III & IV• Introduction to 3D Animation • Introduction to Animation • Introduction to Game Design • Introduction to Media Production and Integration• Level Design • Lighting • Narrative, Sequence and Storyboarding • Screenwriting • Sound Design • Video I • Visual Organization and Media • BFA Preparation • BFA Thesis and Exhibition
Freshman Environmental Elective: • Interactive Media
Careers:
• Commercial game designer • Fine artist game designer • Independent game designer (freelance) • Graduate study• Higher level professional training
You’ll also be prepared to work
in positions which include: • Modeler, programmer, game designer
and game writer • Audio production, rigger • Character designer • Layout artists • Animator, character animator, effects (FX)
artist/FX animator • Production designer • Visual effects (VFX) supervisor • Art director, concept artist, character
designer, environments designer • Storyboard artist
In CIA’s Game Design major you’ll develop incredible
game experiences and build the foundation for a career
in game design and art- and media-related industries.
Game Design Our students work with innovative production
processes including 3D modeling, animation,
programming, visual design, audio, interactive
storytelling and game production, as well as
theory, criticism and context of video game culture
and digital media. While creating interesting and
usable content, you’ll build character development
skills through coursework that analyzes and
synthesizes physical, cognitive, cultural and
political aspects of human interaction.
Master the use of rule design, play mechanics and
social game interaction while you integrate visual,
audio, tactile and textual elements into a total
game experience. Create linear media by applying
post-production techniques. As a Game Design
major at CIA you will be able to create 3D modeling
digital visualizations that use processing, organic
and inorganic modeling, construction of compound
objects, 3D primitive construction and modeling and
resolution and tessellation of 3D objects and formats.
Collaboration and team projects are a vital part of the
studio experience at CIA. As part of our Integrated
Media Environment, Game Design students join
our community of digital arts students. You’ll take
core required courses with students from other
majors in the Environment and regularly exchange
a variety of differing perspectives, various forms
of communication and awareness of multiple
disciplines. These experiences build team skills
needed for collaborative brainstorming, character
design, narrative ideas, production and presenting
and critiquing project outcomes. In some of the
team production courses in this major, you’ll learn
more about programming by working with computer
science students from Case Western Reserve
University’s School of Engineering. We know that
your major requires extensive technology use, so
you’ll have access to more than just our state-of-the-
art computer labs. With your ID card you can check
out the latest equipment for digital video, lighting
and sound. You can work in a network-connected
video-editing suite, a sound editing and recording
facility, two shooting spaces with studio lighting
capabilities—one studio has a green Chroma Key,
a black screen and a gray screen which provide
support for professional studio production. And your
projects will look professionally produced with the
help of a green-screen Chroma Key studio area,
two separate lighting and shooting spaces and a
sound recording studio. Faculty who have proven
success in digital media and game design will be
your instructors and advisors who will also help
connect you with their network of professionals
in game design.
Career success in Game Design is also built on
developing real-world experience and strengthening
communications skills. Each year you’ll have
several opportunities to show your work—to the
CIA community and to industry and fine arts
professionals. In the fall we hold E.M.I.T. Film, Video
and Animation Festival, which features students’
films, videos and animations; in the winter students
enter the juried Student Independent Exhibition
held in the school’s Reinberger Galleries; and all
students exhibit during our Spring Show. In addition,
we strongly emphasize presentation skills such as
writing, storyboarding, cinematic skills, motion and
directing, necessary for successful time-based work.
You’ll also learn to do advanced research in general
media effects, game-specific research and player-
focused research.
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Glass has enjoyed an exciting history as a field of art and craft. Prior to the
early 1960s, designers worked separate from the teams of craftsmen who
would actually produce glass objects in factories. The 1960s saw development
of the studio glass movement, in which individual artists and craftsmen
bridged the gap from making one-of-a-kind sculpture to creating handmade
functional glass objects, melding personal expression with the business
of being a viable working artist.
Courses:
• Creative Process and Materials Studies• Language and Materials• Craft + Material Culture Core Studios• Glass Fundamentals• Introduction to Fusion Concepts• Casting/Fusing Kiln Work• Hot Sculpting• Concept, Theory and Practice• Major Day• BFA Thesis and Exhibition
Freshman Environmental Elective: • Craft + Material Culture
Careers:
Our aim is for each student to become a
practitioner in the medium. Graduates often
enter positions with other artists/craftsmen,
schools and workshops, apprenticeships
and internships and are highly competitive
when applying for graduate study. Students
from our program have become leaders in
the field as teachers in university programs,
practicing designers and of course,
artists/craftsmen.
Glass
In the last half century, there has been exponential
growth in private artist/owner-operated studios,
community-access studios and programs in
universities—from virtually none to more than
several thousand worldwide.
As a student in the Glass department, your basic
training will center around three processes: working
hot glass (glass blowing and off hand, molten glass
processes), working glass cold (cutting, fabricating,
grinding, sandblasting and polishing) and fusion
processes (casting, slumping and bending).
In your introductory classes you’ll survey all basic
methods. You’ll work with technique and concepts
in your intermediate glass classes. As you move
into higher-level courses, you’ll take on independent
study and research that is individually tailored to
your developing voice.
Glass professors at CIA have devoted their lives
to a study and practice of working with glass.
While working in traditional methods of design and
craftsmanship they also experiment with new forms
of expression. This commitment to the art form has
earned them national and international recognition
as leading contributors to the medium. We have one
of the best-equipped undergraduate glass studios
in the country. As a Glass major, you’ll have your
own individual studio space in the department.
Developing a sense of community and collaboration
is an important aspect of the program, which is why
you will also work with students studying ceramics.
Our student-run facility promotes teamwork
and teaches the responsibilities of everyday glass
studio operation. The well-ventilated, three-station
hot glass area features furnaces for melting both
clear and colored glasses, benches and tools
for working hot glass and large annealing ovens.
An adjacent area holds more computer-controlled
ovens for casting, slumping and special forming
projects. The cold glass facility is equally well
furnished with great lighting, diamond saws,
lapping wheels, German and Czech engraving/
cutting lathes, polishing lathes and assorted hand
tools for grinding and polishing. Lampworking
also has a designated space to complement the
other complex glass-working processes.
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Courses:
• Visual Organization and Media• Narrative, Sequence and Storyboarding• Web Presence and Practice• Fundamentals of Illustration• Layout Rendering Techniques• Principles of Illustration• Character Design and Development• Illustration for Publication• Professional Standards in Illustration• Graphic Novels and Sequential Art• Community Projects: Illustration and
Production Workshop• BFA Preparation• Advanced Illustration: Studio Projects• Illustration Portfolio/Visual Essay• BFA Thesis and Exhibition
Freshman Environmental Elective: • Interactive Media
Careers:
Our graduates typically find career
success and professional fulfillment
in book illustration, editorial and
magazine illustration, game character
design, character development,
animation, advertising illustration
and graphic novels.
Through our courses and faculty, we nurture original
thinking and the ability to formulate and express
clear, relevant concepts. Working in a wide variety
of applications—from sequential storytelling to
advertising to editorial and print illustration—you’ll
address the visual transmission of meaning and
discover the intellectual rewards in the images you
create. We will challenge you to master the technical
skills required by a wide range of materials and
techniques—from the traditional media of pencils,
acrylics, oils and inks, to contemporary collage,
photographic and digital processes.
CIA’s Illustration studies cover some diverse areas:
presenting ideas, conveying emotions, illuminating
text and creating narrative without text. Problem
solving remains a core objective for the illustrator.
A solution to any problem must be rooted in the
deepest respect for the meaning of your activities
and the potential impact of your work on the
immediate and greater culture.
Most importantly, we encourage students to develop
a professional approach to their work. You’ll draw
inspiration from field trips to professional art studios
and advertising agencies, as well as from interaction
with a steady flow of visiting artists. At the end of
each year employers, illustrators and designers
are invited to the Institute to review portfolios and
share experiences with students.
CIA’s Illustration major focuses on building your ability to
translate thematic vocabulary into inventive visual solutions.
You’ll learn how to envision thoughts, conceptualize ideas and
express these ideas through imagery. We focus on educating
our students to communicate by creatively manipulating
image and text within analog and digital environments..
Illustration
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Consistently ranked as one of the
top programs in the country, CIA’s
Industrial Design major produces
graduates who are working at the
top of the field, solving real-world
problems and becoming successful
entrepreneurs.
Courses:
• Marketing and Design• Ergonomics• Materials and Processes• Graphics for Design• Industrial Design 1.1, 1.2, 2.1, 2.2 & 3.1• Communication Skills 1.1 & 1.2• Transportation• ID Modeling 1.1, 1.2, 2.1 & 2.2• BFA Thesis and Exhibition• Design Center-Based Learning
Freshman Environmental Elective:• Design
Careers:
Our high rate of employment is evidence
that our graduates are in high demand.
Many of our graduates work for product
manufacturing/marketing firms (Honda,
Nike, Fisher Price), consulting firms
(IDEO, Continuum, Astro) or become
entrepreneurs (starting consulting firms).
Because of their innovative thinking, work
ethic and solid training, many become
leaders in the field, practicing in some
of the world’s top product development
studios designing automobiles, consumer
products, medical products, furniture
and toys.
CIA’s Industrial Design program is rooted in a
rigorous curriculum where each project is centered
on research, conceptualization and refinement.
Our approach builds a strong understanding of the
profession: the innovation process, users, market
forces, manufacturing, sustainability and business
practices. As an Industrial Design student you’ll
develop drawing, modeling and computer-assisted
design skills, which are critical to developing and
communicating ideas. As you progressively move
through fundamental concepts, we make sure to
balance the development of critical knowledge and
skills with your individual areas of interest.
Our faculty teach methods that are solution-driven in
a collaborative and energetic classroom environment.
You’ll understand problems and opportunities, broadly
explore concepts and critically evaluate and refine
solutions. As an Industrial Design student at CIA,
you’ll develop skills in visual communication, form
development and presentation and build knowledge
of manufacturing, ergonomics and marketing.
Each spring, you will participate in a truly dynamic
recruitment opportunity: the Spring Design Show.
Through this show, many of our students complete
two internships, allowing them to refine their skills,
get firsthand exposure to industry practices and
network with professional designers.
Collaboration is an integral part of our curriculum
and Industrial Design students often collaborate
with other CIA programs, other colleges and
businesses. Several international companies work
with us in a program that exposes our students
to real-world challenges. They help students
bring ideas to production, and provide valuable
experience, exposure and potential income.
The Industrial Design program has built an
environment based on a professional industrial
design studio. Classes take place in an open
studio comprised of individual student studios
and collaboration spaces. All students have easy
access to cutting-edge computer technology,
shop facilities, presentation rooms, project
rooms and rapid prototyping.
Industrial Design
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In CIA’s Interior Design program, we emphasize
commercial, retail, architectural, functional and spatial
design, rather than residential design. Our curriculum
develops design processes, sensitivity and knowledge
of material specification and ethical problem solving.
Our hands-on approach to teaching encourages
collaboration with local design firms that bring you
real-world experience. Through these partnerships,
you can take on exciting assignments, which may
include designing restaurants, health care centers,
car dealerships, museum space, or exhibition and
showroom space. These practical experiences
are the most powerful ways to discover industry
expectations, acquire an understanding of
designer–client relations and gain professional
self-confidence.
Communications skills are central to a successful
career in Interior Design. That’s why CIA’s
Interior Design program weaves opportunities for
developing strong communication skills into each
aspect of our curriculum. Classroom critiques and
professional client presentations will refine your
verbal skills and ultimately pay off in the form of
solid client-relations skills.
Presentation methods, such as drawing, rendering,
CAD technologies and 3D modeling are a few of
the studio tools you will learn. You can also expect
to research projects and develop a sound basis
for your concepts and solutions. Throughout your
major study, you will also attend lectures and
symposiums sponsored by industry leaders and
noted award-winning designers and design firms.
Leading manufacturers of furniture and materials
contribute to our studio environment through
materials workshops. Off-campus activities expose
Interior Design students to historical landmarks
as well as leading design firms in the region.
Our students often secure summer internships,
as well as part-time work in the greater
Cleveland design market. Student exhibitions
and job fairs are a feature of the Institute’s
Interior Design experience.
The Interior Design curriculum shares resources
as well as studio space with the Industrial
Design Department. You’ll find an atmosphere
of collaboration, innovation and community—
as well as healthy competition—within the
design programs.
Interior Design
Courses:
• Space and Planning Fundamentals• Architectural Drawing and Documentation• Retail, Restaurant and Store Design• Materials, Research and Space Planning• Communication Skills I & II• Graphics for Design• Intermediate Problems• Retail Design and Brand Design• Architecture and Communication Skills• AutoCAD• Advanced Problems• Senior Thesis Problem• BFA Survey
Freshman Environmental Elective:• Design
Careers:
Interior Design graduates are employed in
a variety of consulting design, architectural
and interior design firms, particularly those
that specialize in interior architecture and
retail design such as Design Forum, FRCH,
MillerZell, Chute Gerdeman or Jones
Apparel Group.
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In CIA’s Jewelry + Metals major,
you’ll work with both traditional and
contemporary metalsmithing processes
to grow as an artist of decorative and
wearable art—including jewelry, fashion
and small-scale sculpture. The skills,
knowledge and broad experiences you
collect here will build your confidence
to pursue ambitious, intelligent work
without compromise.
Courses:
• Creative Process and Materials Studies• Language and Materials• Craft + Material Culture Core Studios• Intro to Jewelry + Metals• Flatware• Casting• Forming and Fabrication• Surface• Mechanisms• Advanced Projects• Jewelry Concepts• Art and Machine• Modeling• Recycling and Renovation• Forming and Fabrication• Color• Settings• Alternative Materials for Jewelry• Production• Settings: Advanced and Basic• BFA Statement and Exhibition• Thesis/Professional Portfolio
Freshman Environmental Elective:
• Craft + Material Culture
Careers:
• Studio: fine and production jewelry • Designer • Modeler • Prototype developer• Object maker for interior/exterior home
decor and architectural detailing
A thorough understanding of techniques and
materials is fundamental to your development as
a self-sufficient, successful, prosperous artist in
this field. After learning the fundamentals, you’ll
broaden your experience through more advanced
uses of materials and technologies including forming
and fabrication, lost-wax casting, electroforming,
anodizing, sophisticated “stone” setting, working with
mechanisms, mixed media and machining. Woven
throughout our curriculum is coursework that will give
you an understanding of the history of the field and
the contemporary attitudes and ideas affecting the
making of wearables and objects within our culture.
Our fully equipped studio enables you to master
advanced techniques and explore the boundaries
of the field in concept and design, materials and
technologies. Faculty provide individual attention
and are committed to teaching you the latest in
jewelry and metalwork including, 3D modeling,
CAD/CAM and rapid prototyping—a technology
that turns your CAD/CAM design into a three-
dimensional scale model.
The study of Jewelry + Metals ensures a lifetime
of exploration and engagement as an artist. The
Institute’s program operates in an environment that
fosters risk taking and creative problem solving
and encouragement of interdisciplinary study.
In addition to studio subjects, professional
practices are addressed in every class. We
believe it’s important to participate in exhibitions
and competitions and learn to document work in
digital media. Each year CIA students produce and
enter the juried Student Independent Exhibition,
an exhibition of student work held in the school’s
Reinberger Galleries. In addition students exhibit
during our Spring Show. Some of our graduates
have worked with famous designers such as Isaac
Mizrahi, Trina Tarantino, Vera Wang and Alexis
Bittar, designing wearable accessories for the
runway, for everyday use as well as for fun.
The Jewelry + Metals curriculum embraces
other materials and spans boundaries beyond
the metal. You will study significant artists and their
works through studio and research assignments,
presentations, exhibitions and field trips. Projects
are presented to challenge you to research a
subject, explore its boundaries and innovate.
Jewelry + Metals
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Courses:
• Image and Form: Visual Literacy• Image and Form II: Reproducibility• Aesthetics, Style and Content• Subject, Content and Form• Artist as Producer• Art in the Global Context• Painting History (1828–2010)• The Tactile and The Digital: Painting
in the New Century• Painted Bodies: The Contemporary Figure• Painting as System, Method,
Organism and Concept• Framing the Subject and the Construction
of Meaning• Image and Narrative: Concept,
Abstraction, Mimesis• On Painters and Painting: Artist, Author, Aura• Painting and the Photograph: From Delacroix
to Gerhard Richter• Painting Lab: Explorations in Representation
and Figuration• Water+: An Exploration of Water-Based Media
in Contemporary Painting Practices• Color, Scale, Mark and Form• Working Collaboratively: Art and the
Group Dynamic• Major Day: Medium is the Message• Major Day: Self, World and History• Major Day: Constructing Narratives
• Major Day: Mechanics of Meaning: Subject,
Form and Content• Criticism and Studio Practice• Popular Culture, Material Culture and the Arts:
A Studio Course Collaboration, Image,
Object, Installation, Performance• Collage, Assemblage and Installation• Hybrid Approaches to Drawing and Painting:
Digital Media• BFA Statement and Exhibition
Freshman Environmental Elective: • Visual Arts + Technologies
Careers:
The BFA degree will prepare you for a career
in the visual arts as a professional artist.
While many of our graduates go on to earn
their MFAs at pre-eminent graduate programs
to deepen their knowledge of their own practice
or become curator, critic and art administrator,
or art teacher on the K-12 or college level.
Others follow entrepreneurial paths pursuing
successful careers as illustrators, designers,
creative directors, set designers, or creative
talent for television shows.
Painting
The Painting department at the Cleveland Institute of Art
has a long and illustrious history of producing successful
alumni. In this major you’ll experience a wide range
of approaches to abstract and figural painting as well
as alternative media and installation.
At the core of our curriculum is an understanding of
what it means to be a professional artist. We present
a solid grounding in technical skills, art criticism and
theory, as well as contemporary practices in the
visual arts. Our faculty of professional artists with
diverse approaches to art-making will guide your
work through individual and group studio critiques,
workshops, seminars and courses in special topics.
Once you have received a firm grounding in both the
technical and conceptual aspects of painting you’ll
begin to develop a personal body of work and an
imaginative approach to problem solving. As part
of the Visual Arts + Technologies (VAT) Environment
at CIA, Painting students share in an integrated
curriculum that will give you a broad knowledge in
the visual arts and in-depth awareness of the painting
as a studio practice. Your knowledge and experience
will be enriched as you pursue collaborations and
shared coursework in the other disciplines that make
up the VAT Environment: Drawing, Printmaking, Fiber +
Material Studies and Sculpture.
A series of special events, exhibitions, artist visits
and scholar programs will present you with the
issues and practices you can expect to face in
professional life. In addition, you’ll have access to
the VAT Environment Artist-In-Residence, who is an
artist working at the top of his or her field. This artist
teaches regular courses in the environment as well
as works individually with students. In the spring you
have an opportunity to travel to New York during an
annual trip sponsored by the VAT Environment, where
you’ll experience first-hand professional galleries
and exhibitions such as the Whitney Biennial and
the Armory Show.
In our Professional Practices program you’ll develop
small business knowledge that will empower you to
set up your professional studio. You’ll be tutored in
creating your professional portfolio and developing
grant-writing skills. In addition, you’ll learn about
the appropriate communications skills and proper
etiquette necessary for successfully approaching
dealers, curators and collectors.
Painting students have generous individual studio
spaces, a well-equipped workshop and excellent
critique space, all within the sky-lit, factory loft space
of the Joseph McCullough Center for the Visual
Arts. The Painting curriculum culminates with a BFA
exhibition that consists not only of presenting a body
of self-initiated work, but also an oral defense and
a written artist statement.
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Courses:
• Visual Organization and Media • Narrative, Sequence and Storyboarding • Web Practice and Presence • Mechanics of Digital and Film• History of Photography • Studio Lighting • Editorial Photography • The Fine Art Silver Print • Visual Thinking in Contemporary
Photography: Projects/Presentations• Digital Photo Imaging I • Contemporary Color Photography
in Theory and Practice• Major Day: Photographic Materials
and Processes• Major Day: Conceptual Foundations
in Photography• Special Topics: Contemporary Narrative
Constructs: Digital and Film-Based Projects• Digital Photo Imaging II: CS4 Color
Managed Workflow• Digital Photo Imaging III: Advanced Digital
Projects: Archival and Large Format Printing• Video Basic Tools I• Video II• Methodologies and Practices• BFA Thesis and Exhibition
Freshman Environmental Elective: • Integrated Media
Careers:
Your future in photography could include any of the following careers:
• Studio artists• Video artists• Art educators and university professors• Independent and industry
photographers and filmmakers• Art directors• Commercial photographers• Fashion photographers• Photojournalists• Digital imaging specialists• Scientific and medical imaging• Gallery and museum directors• Visual effects supervisor
Photography The unique opportunities we offer in our Photography
major will give you a creative advantage in shaping your
career and help you launch your dream profession.
Focus your study on one of three tracks: Digital
and Photographic Arts, Film and Video, or Publication
Photography. In each track, you’ll develop a deep
knowledge of the medium through a curriculum
steeped in the traditional methods of photography—
film and chemistry.
Your technical expertise will grow as you work
with professional imaging equipment, formats of
digital and film cameras, studio lighting and digital
manipulation and enhancement. In addition,
your study of still and moving imagery will include
exposure to film and video, digital editing, current
rip printing software and the use of special effects.
Each track within the major offers the expertise
of a diverse, committed faculty and the insight of
visiting artists delivered through interdisciplinary,
collaborative teaching and creative exploration.
All students work in their own individual studio
space and have access to exhibition areas.
You will achieve a rich and varied knowledge of
the techniques and aesthetics of photography as
you explore an array of photographic and video
materials, processes and conceptual approaches.
You’ll refine your unique vision and learn to
communicate that vision through assignments,
lectures, critiques and one-on-one discussions.
As a student in this major, you’re encouraged to
participate in exchange programs, international
mobility studies and internships with professional
artists and photographers. You can also participate
in onsite workshops and lectures sponsored by
professional organizations such as ASMP (American
Society of Media Photographers) and by industry
representatives from Fujifilm, Leaf America, Gretag
MacBeth, Mamiya, Hasselblad and Polaroid
Corporation. All CIA students take Professional
Practices courses to develop those skills for a
successful career and in the Photography major
we also bring in professional journalists, critics,
writers, collectors, curators and museum and
gallery directors to meet with you and critique
and review portfolios.
CIA’s Photography department operates in
spacious facilities equipped with film-based color
and black-and-white darkrooms, a full-featured
digital imaging and printing lab and both video and
16mm film editing and computing facilities. You’ll
work in start-of-the-art lighting studios with a large
Light Side Lighting Studio that is more than 1,200
square feet with a 24-foot ceiling and a two-story
wall of windows. Our Dark Side Lighting Studio is
898 square feet with 12-foot ceilings and a curtain
system for light control. Additional equipment also
available to you includes color and black-and-white
enlargers, medium- and large-format cameras, color
management software and black-and-white dip-
and-dunk film processing.
Our graduates go on to become commercial
photographers, photojournalists, and fashion
photographers and work in scientific, medical
and forensic imaging. In addition, graduates have
gone on to graduate schools, to contribute as art
educators, or work within the field as independent
photographers, filmmakers and video artists.
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For centuries, printmaking has been used to influence
culture. This experimental approach to image making
embraces, utilizes, and challenges technology from
relief printing to online distribution of digital products.
Courses:
• Image and Form: Visual Literacy• Image and Form II: Reproducibility• Aesthetics, Style and Content• Subject, Content and Form• Artist as Producer• Art in the Global Context• Image Construction, Line and Sequence• The Artist’s Book Now: Narrative and Form• Collaboration Through a Printed Experience• Propaganda: Media, Dissemination, Techniques• Intaglio/Relief• Printmaking Seminar • Expanded Print: New Imaging• The Liberated Print: Investigation
of Alternative Methods• BFA Statement and Exhibition
Freshman Environmental Elective: • Visual Arts + Technologies
Careers:
• Studio artist• Professional contract printer• Print, graphic, or web designer• Museum professional• Conservation• Gallery professional• Exhibition curator• Collaborative project facilitator• Illustrator
Printmaking As a print student you will develop a broad base
of knowledge of various print mediums, including
traditional intaglio, lithography and relief printing,
as well as digital media applications. The program
combines approaches to learning that range
from kinesthetic to theoretical. As you grow in the
major, so too will your ability to produce distinct
impressions and multiples, from hand-printed
limited editions to unlimited digital ones.
In the Printmaking major you will find cooperation
and synergy—students and faculty investigating,
challenging and influencing this field together.
We foster a vigorous environment with a structured
program that nurtures, challenges and supports
individual vision and talent. Our studio workshop
cultivates an innovative and collaborative
atmosphere where you’ll take part in the free
exchange of ideas, methodology and artistic
inquiry. Within the Printmaking space, we’ve
created a professional studio setting of more than
4,000 square feet. You’ll have access to numerous
etching and lithography presses, as well as book
arts and letterpress facilities. You will also receive
a personal studio space, allowing you to explore
and create in your very own environment.
Through our required studio courses you’ll develop
a comprehensive approach to understanding,
defining, making and questioning your practice
of printmaking. Our curriculum is designed to
develop your intellectual, creative and critical
abilities. You’ll work with a committed group of
faculty who are practicing artists widely respected
for their knowledge and achievements. They will
work with you to hone your skills and define your
personal direction.
As part of the Visual Arts + Technologies (VAT)
Environment at CIA, Printmaking students share in
an integrated curriculum that will give you a broad
knowledge in the visual arts while strengthening
your in-depth conceptual knowledge of the
Printmaking discipline. Your coursework and
studio practice will be enriched as you pursue
collaborations and shared coursework in the other
disciplines that make up the VAT Environment:
Drawing, Painting, Fiber + Material Studies and
Sculpture. In addition, you’ll have access to the
VAT Environment’s Artist-In-Residence, who is an
artist working at the top of his or her field. This
artist teaches regular courses in the environment
as well as working individually with students. In the
spring you have an opportunity to travel to New
York during an annual trip, sponsored by the VAT
Environment, where you’ll experience first-hand
professional galleries and exhibitions such as the
Whitney Biennial and the Armory Show.
In our Professional Practices program, students
develop small business knowledge that will
empower you to set up your professional studio.
You’ll be tutored in creating your professional
portfolio and developing grant-writing skills.
In addition, you’ll learn about the appropriate
communications skills and proper etiquette
necessary for successfully approaching dealers,
curators and collectors. The Printmaking
curriculum culminates with a BFA exhibition that
consists not only of presenting a body of self-
initiated work, but also an oral defense and a
written artist statement.
Our Printmaking graduates go on to work in fine
arts print studios executing original prints for other
artists. They have gone on to receive full stipends
in prominent studio programs in museums and
in academia and are creative and challenging
teachers and cultural activists. Our graduates
have gone on to work in web design companies,
in museums, in conservation, as curators for
publishers and in art galleries.
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Courses:
• Image and Form: Visual Literacy• Image and Form II: Reproducibility• Aesthetics, Style and Content• Subject, Content and Form• Artist as Producer• Art in the Global Context• Basic Materials and Techniques• Aesthetics of Materiality• Mapping and Memory: Spatial Constructions• Design as Sculpture• The Rhetorical Object: Conceptual
Constructions: Intermediate Sculpture• Art and Public Space• Advanced Studio Workshop: Physical and
Visual Language/BFA Portfolio Development• Major Day• Kinetics and Space• Environmental Sculpture• Installation: Light as Material• Installation and the Constructed Object• BFA Statement and Exhibition
Freshman Environmental Elective: • Visual Arts + Technologies
Careers:
CIA’s Sculpture program will prepare you for
a dynamic career as a professional working
artist. Students who have graduated with
degrees in Sculpture have gone on to work
in a wide variety of fields including creative
design, education, gallery direction and non-
profit administration. An exceptional number
of our graduates maintain life-long careers
as successful studio artists operating in the
top of their field.
Sculpture No longer confined to the pedestal, the field of sculpture
has exploded since the 1950s. Always a creative and
diverse field, this traditional discipline now encompasses
myriad modern approaches.
You’ll find sculpture-educated artists creating
installations, performance pieces, public art,
social interventions, site-specific works and
earthworks—all in addition to crafting traditional
object-based works.
You’ll receive a wide range of support beginning with
a faculty of professionals with diverse approaches
to art-making and a commitment to mentoring their
students. Your beginning level courses in Sculpture
will establish a critical foundation of sculptural design
and studio skills. We want each student to have a
thorough introduction to all of the various processes
and techniques important to the sculptor. These
will include mold making, foundry casting, forging,
wood and metal design and fabrication and more.
Guided by faculty advisors who provide one-on-one
instruction and guidance, Sculpture majors are often
able to work directly with other studio areas within
crafts, design and media technologies.
As part of the Visual Arts + Technologies (VAT)
Environment at CIA, Sculpture students share in
an integrated curriculum that will give you a broad
knowledge in the visual arts while strengthening your
in-depth conceptual knowledge of the Sculpture
discipline. You’ll have many opportunities to pursue
collaborations and shared coursework in the other
disciplines that make up the VAT Environment:
Drawing, Fiber + Material Studies, Painting and
Printmaking. Working with these majors will give
you a chance to experiment with various modes
of presentation including installation, performance
and site-specific work.
In addition, you’ll have access to the VAT
Environment Artist-In-Residence, who is an artist
working at the top of their field. This artist teaches
regular courses in the environment as well as working
individually with students. In the spring you have an
opportunity to travel to New York during an annual
trip, sponsored by the VAT Environment, where
you’ll experience first hand professional galleries
and exhibitions such as the Whitney Biennial and
the Armory Show. In addition we will introduce you
to new technologies in visualization, design and
execution of sculptural work.
Sculpture is housed on the second floor of the
McCullough building and maintains a state-of-the-
art facility with extensive wood and metal working
capabilities. And when you arrive at CIA in fall 2011,
you’ll also be able to use our newly installed cold-
casting facility.
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Take your creative mind to a new
level as you work at the intersection
of social media, culture, technology
and the studio arts. In our T.I .M.E .–
Digital Arts major you’ll develop
innovative projects from the world
of interactive media.
Courses:
• 2D and 3D Design• Digital Art and Design I & II• Intro to Electronic Arts:
Coding, Hacks and Space• Experimentation in Electronic Arts I & II• Creative Resistance:
Media Art in Social Sphere• Code as Art: Programming for Artists• Screenwriting• BFA Preparation• BFA Thesis and Exhibit
Freshman Environmental Elective: • Integrated Media
Careers:
• New media (electronic arts)
practicing artist• Graduate school• Teaching• Curators• Freelance and independent
media producer• Museum installation
We encourage you to experiment as you develop
hybridized projects that incorporate technologies
that include video, interactive web technologies,
photography and animation. The final product is
based on your creative input.
In the T.I.M.E.–Digital Arts major you will develop
custom media tools, learn to research, experiment,
create prototypes of projects, produce and
document the process and final outcome. You’ll
also build your ability to master interactive forms
of media including live media, performance and
linear media. Work with computer scripts, develop
interactive sound and video works, expand gaming
environments, or create circuit bending sound
instruments. You’ll be able to conceive, plan and
program your own software-based artwork. As you
develop strong foundation skills in your first year at
CIA, your knowledge of traditional studio arts will
enhance your interactive projects, giving you
a robust toolkit to expand your creative process.
Our faculty are professionals in the field who are
well-known for creating a collaborative classroom
environment to help you grow creatively and
professionally. Faculty will guide you through
an important foundation in research and critical
thinking—helping you develop the tools for creative
problem solving and conceptual thinking. You’ll also
explore the impact your work will have in social,
ethical and cultural contexts, including developing
the strategies of integrating social activism with
media art. With CIA’s 9:1 student to faculty ratio,
you’ll receive the individual attention and mentorship
that will help you develop real-world experience.
In addition to providing access and exploration
of traditional studio arts, we know that your major
requires extensive technology use. At CIA you’ll work
in more than just our state-of-the-art computer labs.
You can check out the latest equipment for digital
video, lighting and sound. And your projects will look
professionally produced with the help of a motion
capture system, a green-screen Chroma Key studio
area, two separate lighting and shooting spaces
and a sound recording studio.
Career success at CIA is built on developing
real-world experience and strengthening your
communications skills. Each year you’ll have
several opportunities to show your work—to the
CIA community and to industry and fine arts
professionals through our E.M.I.T. Film, Video and
Animation Festival; the juried Student Independent
Exhibition held in the school’s Reinberger Galleries;
and our annual Spring Show. In addition, we
strongly emphasize presentation and public
speaking skills that prepare you for pitching
your ideas and directing a team.
T.I.M.E.– Digital Arts
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Excel in the field of video and time-based media with the
resources and creative perspective that only a premier
college of art and design can offer.
As a student in the Video major at CIA you’ll work
in the traditional methods of video as well as in
the software-generated or assisted techniques of
image creation. Work with faculty who have proven
success in video art as you develop projects that
incorporate cinematography, sound, lighting,
editing, photography and animation.
As a Video major you’ll experience a comprehensive
range of challenges and approaches to working
on the entire media-production pipeline, including
the use of digitally-based art and design strategies,
storyboarding, sequencing, concept mapping,
acting, pre-production and post-production. And
we provide historical context to film—initiating
discussion on the cultural and social impacts of
video and digital media.
Collaboration and team projects are a vital part of
the studio experience at CIA. As a major within our
Integrated Media Environment, Video students join
our community of digital arts students. You’ll take
core courses with students from other majors
in the environment and regularly exchange a
variety of differing perspectives and techniques.
These experiences build team skills integral to
collaborative brainstorming, character design,
narrative ideas, production and presenting and
critiquing project outcomes.
Built into our curriculum are many opportunities
to work with professionals in the field and gain
valuable professional skills prior to graduation.
In addition to encouraging and facilitating students
to submit finished work to film festivals throughout
the world, CIA’s own annual E.M.I.T. Student Film,
Video and Animation Festival gives students the
opportunity to show their work publicly. Plus you’ll
be inspired by alternative and independent films at
the Cleveland Institute of Art Cinematheque, named
by the New York Times as one of the country’s best
repertory movie theaters.
CIA Video major students will receive a personal
computer with all needed software for the entire
duration of their study as well as a studio space.
We know that your major requires extensive
technology use, so you’ll have access to more
than just our state-of-the-art computer labs.
With your ID card you can check out the latest
equipment for digital video, lighting and sound.
And your projects will look professionally produced
with the help of a green-screen Chroma Key studio
area, two separate lighting and shooting spaces
and a sound recording studio.
Video
Courses:
• 2D and 3D Design• Digital Art and Design I & II • Digital Photography I• Experimental Video• Introduction to Animation• Introduction to Media Production
and Integration• Lighting• Motion Graphics• Moving Image in Space• Narrative Production I & II• Narrative, Sequence and Storyboarding• Screenwriting• Sound Design• Video I & II• Visual Organization and Media• Web Media Production
Freshman Environmental Elective: • Integrated Media
Careers:
• Videographer• Editor• Art director• Director• Director of photography• Video and special effects production• Production assistant• Compositor• Production designer
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funfacts & figures
1 2 3 4 5 6 7 8 9 10
11121314151617181920
21222324252627282930
31323334353637383940
41424344454647484950
spend 50 hours a week in their studio
have 14 pairs of shoes in their closet
On Average Our Seniors...
text 806 messages each month
(compared to 12 calls a month home)
consumed 22,365 slices of pizza as a class since their freshman year
184 cia.edu/admissions 185
Our Faculty
Our design faculty hold numerous patents,
have designed spaces for internationally-known
businesses and restaurants and worked with
local governments to establish sustainable design
solutions. They value lifelong learning and are
regularly awarded intensive fellowships and
international residencies to continue their artistic
explorations. And they bring those experiences
back to the classroom.
With a 9:1 student to faculty ratio our faculty
engage students on an individual level. Small class
sizes enable faculty to work with you in the studio
and the classroom, to take learning around a
table or face-to-face rather than to a lecture hall.
Our faculty excel at this one-on-one learning
experience—it is an attribute our alumni always
remember, years after graduation.
Their community partnerships become your
community partnerships. For their students,
they open doors to workshops with visiting
artists, internships, partnerships and real-world
experience. Take a look at some of our faculty,
learn about their own artistic explorations and
see the partnerships they’ve built.
Your professors will help define the artist or designer you become—
the artistic risks you take and the approach you develop to creative
problem solving. At CIA our faculty open doors to experiences that are
unmatched. Their dedication to teaching and exploration fuels our
creative community. As practicing artists and designers, CIA faculty are
mentors who teach from a place of experience and success. Their work
rests in the permanent collections of the most prestigious museums in
the world; The Smithsonian, The Vatican, the Museum of Modern Art
and the Cleveland Museum of Art.
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Chair: Integrated Media Environment
Department Head: T.I.M.E.–Digital Arts
Associate Professor: T.I.M.E.–Digital Arts
California College of Arts and Crafts, MFA
For Kristen Baumlier, life leads to art and art can
motivate. It can change thoughts and perspectives.
It can be a wakeup call and a call to action. As a
teacher, Baumlier inspires students to collaborate in
their own education and engage the transformative
power of art. She encourages them to channel
their beliefs “past complaining and toward asking
questions and indicating solutions.”
In her own art, Baumlier uses interactivity and
humor to engage audiences around the world.
In 2005, she developed “Oh, Petroleum,” in
which she transformed into the Petroleum Pop
Princess to spark debate over materialism and
oil consumerism. As an interdisciplinary artist,
she uses moving images, sound and choreography
in non-traditional ways to provide multiple access
points to ideas. She combines analog and digital
sources and work in forms that include video,
sound, photography, performance and installation.
Catch her in her off-hours climbing rocks, scouting
farmers markets for food to use in great vegetarian-
cooking recipes and passionately researching new
projects. A new project takes her to Wisconsin to
buy soybeans for an investigation of food systems
and the genetic engineering of food.
On art :
Make art about
something.
On teaching:
I aim to teach students
to think, question,
communicate and
create projects that
enrich their education
and conceptually
strengthen an idea,
thought or theory.
On her bookshelf:
Tomorrow’s Table:
Organic Farming,
Genetics and the
Future of Food by
Pamela C. Ronald
and R. W. Adamchak
Kristen Baumlier
Dan CuffaroChair: Design Environment
Department Head: Industrial Design
Anne Fluckey Lindseth Professor of Industrial Design
The Cleveland Institute of Art, BFA
Dan Cuffaro loves good design. He loves it so
much that when he’s not working in it professionally,
he’s doing it for fun. “I enjoy walking through old
neighborhoods and downtown, soaking up the
amazing architectural details and rich materials
of traditional structures,” says Cuffaro. “But I also
seek out new and innovative architecture whenever
I travel. One of my side-projects is creating scale
replicas of my favorite places in the world. This
three-year effort thus far includes the Chapel of the
Holy Cross in Sedona, AZ, Charles Street in Boston
and a Nordpark transit station in Innsbruck, Austria.”
For Cuffaro, this project is about understanding
relationships of spaces and materials, the importance
of scale and the evolution in thinking over time.
Cuffaro is co-founder of the District of Design, an
economic development initiative in Cleveland. He is
also winner of six IDSA/Business Week IDEA awards
and holds 13 patents.
In the classroom, Cuffaro leads students toward
building KNOWLEDGE, skills and a visual vocabulary
so they can meet design challenges with both
expertise and a sense of humanity. Central to his
philosophy, he says, “is the ability to see the world
from someone else’s point of view. This user-
centered approach provides a continuous source
of new problems, which can yield new ideas while
helping the designer develop a sense of empathy
and context.”
One of the most successful teaching experiences
concerned a project that addressed the safety of
U.S. servicemen. “The project lasted over a year
and required students and faculty to work side-by-
side,” Cuffaro says. “The opportunity to define the
correct process, then to pair professionals with
students on solving a real and serious problem,
provided an amazing learning opportunity. The
students who were involved matured so quickly
and really understood the talent and experience
of their faculty.”
On professionalism:
My intent is to produce
good design, which
I believe is exemplif ied
by solutions that meet
the intended need and
are beautiful, function
well and are well made.
On teaching:
Core to my philosophy
is the ability to see the
world from someone
else’s point of view.
On the well-set table:
I love trying new
restaurants, but my
favorite spots to dine
out are Pomodoro in
Boston’s North End
and Momocho in
Cleveland’s Ohio City.
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Department Head: Printmaking
Associate Professor: Printmaking
Clemson University, MFA Printmaking
Xavier University, BA Printmaking, Graphic Design and Business
Denk-Leigh teaches by teaching—and by doing.
“I believe an educator teaches by example,”
she says. “My own studio work ethic is two-fold.
It demonstrates solutions to technical and project-
driven questions and it reveals the educator as
a model of a diligent artist and life long student.”
Denk-Leigh is a board president of Morgan
Conservatory (a paper and book arts center) and
received Best in Show Award at “COMMUNinkATE”
The Spring 2010 Mid-America Print Council Juried
Members Exhibition.
As a fine-art printmaker, Denk-Leigh’s calendar
is packed with new projects, group and solo
exhibitions and with jurying the works of others.
Critical Condition, her artist book and lithograph
series, stemmed from her interest in the growing
debate over climate change. “It’s about what has
come before and what comes next. Terminology
associated with the northern polar ice cap has
stimulated considerations to what has come
before: Before in earth’s evolution, before in the
life span of living species as the thaw reveals a
time past and before my life in reflection to what
comes next,” she says.
On art :
Building narratives
through sequences,
I challenge the notion of
audience desensitization
by media, often
responding to a chain of
sensationalized events.
On teaching:
We come in contact with
many people during our
life. Relative to an entire
lifetime, the amount
of time I will share with
a student is small. My
devotion is mandatory.
Maggie Denk-Leigh
Mari HulickDepartment Head: Communication Design
Associate Professor: Communication Design
Northwestern University, MFA
University of Michigan, BA
Art Institute of Chicago, Post Baccalaureate
Like a true educator, Mari Hulick is never
done learning.The Head of Communication Design
has lightened her load of earthly possessions to
make it easier to travel and she keeps an eclectic
stack of reading material at the ready for her off-
hours. “Every day, I walk, make something new in
the studio (no matter how small), make something
new in the kitchen (no matter how silly), listen to at
least one new piece of music and read a little bit
about something I didn’t know about yesterday.”
That helps explain why, when it comes to her
work in the classroom, Hulick believes it’s her job
to show students that school is not a stopover
before ‘Real Life.’ “It is real life,” she says. “And
the more we impart our passions about and our
contradictions within our professions, the better
prepared our students will be for their new ( just
as real) lives.”
In recent design work, she collaborated with Carl
Pope on “The Wall Remixed,” a print campaign
celebrating North Philadelphia neighborhoods.
She is creating ongoing information design for
educational tools on the American Civil War and
she’s involved in a history campaign on the Flats.
“We live in a time when the design of all things,
from the constructed world to the patterns of
human thought and activity, revolves around
information,” Hulick says. “The role of the
Communication Designer is to reveal and
assemble this information into physical, digital
and spatial documents that make our world
possible and functional.”
On teaching:
Teaching is not simply a
part of my work and my
life. It is central to both.
On design:
Good design serves its
purpose well. Great
design inspires, angers,
awes, enlivens, calms
and transcends. It is the
stuf f of life.
On travel :
I love to travel and
to make up for the
carbon footprint of the
international f lights every
year, I live in Cleveland
without a car.
190 cia.edu/admissions 191
Chair: Visual Arts + Technologies Environment
Associate Professor: Painting
University of Massachusetts, MFA
School of Visual Arts, NYC, MFA
School of Visual Arts, NYC, Four-Year Certificate
For more than 30 years, Saul Ostrow has
committed himself as an artist, curator, thought
leader and writer on the critical issues of art and
culture. From studio to classroom to the pages of
international art magazines, Ostrow digs deep into
how art works. In engaging with students, Ostrow
aims to guide them not just toward competence
with craft, but also toward deep understanding
of their work and the art of others.
Ostrow is also art editor for Bomb Magazine
and editor of “Critical Voices in Art, Theory and
Criticism” (Routledge Press).
“I want students to learn that the fundamental
perspective of an artist is informed by: technical,
intellectual, communication skills and intuition,”
he says. “It is also necessary to offer them
concrete examples of contemporary artists who
worked within multiple frameworks so that they
may understand the mechanisms of the art world,
while studying the artists’ work for their aesthetic
inventiveness and rigor.”
Ostrow lives and works in New York and Cleveland.
He loves to cook and entertain, drinks good wine
and cold vodka and enjoys the occasional cigar.
On art :
The political nature
of art is its ability to
experientially re-order
our relation to the world
and with this give us
insight into our social
existence as subjects
rather than objects.
On teaching:
The reward of teaching
is the sharing of one’s
knowledge, but also
to enable a student to
develop their critical
abilities and views.
On his bookshelf:
Good cookbooks,
science fiction and
murder mysteries.
Saul Ostrow
Brent Kee YoungDepartment Head: Glass
Professor: Glass
State University of New York, College of Ceramics at Alfred University, MFA
San Jose State University, BA Ceramic Art/Glass concentration
Innovation and tradition find their way into the work
of Brent Kee Young, whose contemporary glass has
been recognized around the world.
Young has traveled throughout the United States
and Asia to lead workshops on contemporary
glass. Young was head of Glass at Aichi University
of Education in Japan in 1990. He established the
studio and curriculum for the first Glass program
in a National University in Japan. For his recent
Matrix series, Young posed the creative question:
Can form be defined using only light and line? The
works themselves, in which forms are created from
webs of clear glass, were informed by geometric
studies. “The mathematical study of volumes of
solid revolution has helped immensely,” Young
says. “The works are usually comprised of a number
of geometric forms rotated into a solid, set off by
another form that usually ends up being part of a
rectilinear compositional base.”
Young’s affection for folk art can be found in the
simplicity of form. “I love the unpretentious, honest
feeling of the maker’s hand revealed within the
object,” he says. “The least pretentious, least
decorated forms seem to resonate with me
the most.” Young wants his students to achieve
excellence on two levels. “One is to dedicate
energy, time and resources to the learning of the
media, working with a fascinating material, with all
of its history, art, craft, physics, difficulties, laying
groundwork within each student to somehow
understand the ‘how’s’ of working in glass,” he
says. But the “why’s” are at least as important
“to understand themselves and expand on the
limitations that they have to this point grown with.”
On art:
Maintaining this dialogue
between the ar tists, the
work and the viewer is the
essence of what ar t is.
On teaching:
The buzz phrase now
is life long learning. In the
’70s, I called it learning
to learn. The importance
is not the object but what
you learn in the process
of realizing it, emphasizing
the learning process.
On six strings:
Young recently picked
up the Martin 0021
guitar he learned to play
during the folk-music
era before abandoning
it for 35 years while he
dedicated himself to
glass and ceramics.
192 cia.edu/admissions 193
Department Head: Fiber + Material Studies
Professor: Fiber + Material Studies
Cranbrook Academy of Art, MFA
Barnard College, BA, Urban Studies
After earning her undergraduate degree, Tina
Cassara spent time in Viques in the Juan region of
Peru, where she studied with Francisca Mayer from
Black Mountain College and taught natural dyes
derived from indigenous plants to the local weavers
in an effort to revive the industry. While living in New
York City, Cassara was co-editor of Sing Out! The
Folk Song Magazine before attending Cranbrook
Academy of Art where she received a MFA from
the Fiber Department.
Cassara has conducted extensive research into
women’s labor in the American textile industry,
issues of European migration and relocation and
more recently, the assigned value of labor in
historically women-dominated textile industries
in the South.
In the late 1990s, Cassara began exploring the
history of textile production, one of the first areas of
manufacturing to industrialize and one of the most
resistant to unions. A strong advocate for organized
labor, Cassara began conducting one-on-one
interviews in LaGrange, Georgia and nearby mill
towns, with retired textile mill workers, factory owners,
surviving union organizers and members of various
textile heritage societies.
In 2008–09, Cassara was awarded a sabbatical to
further her research in the network of textile heritage
societies. She traveled to Cooleemee, NC, to work
with organizers of the Textile Heritage Initiative and
members of the Troop County Historical Society and
perform additional research at the Center for Public
History at the University of West Georgia. Cassara’s
research continues in Scranton, Pa., where she
is examining documents related to the extensive
growth of the mining and silk textile industries. She
is currently working on a community-based, social
practices exhibition at the Cochran Art Center in
LaGrange, Georgia, scheduled for 2011.
On teaching:
I am an artist and
I speak to the
students as artists.
Tina Cassara
Michael A. GolliniDepartment Head: Interior Design
Associate Professor: Interior Design
The Cleveland Institute of Art, BFA, Industrial Design; minor, Interior and Graphic Design
In business and in teaching, Michael Gollini knows
the value of the wide horizon. A veteran designer
schooled in both product and interiors, Gollini
has learned multiple disciplines and worked in a
variety of arenas, providing conceptual imagery
for retailers, restaurants, museums and exhibits.
In addition to his work at CIA, Gollini is president of
Michael Gollini Design Group, Inc. and member of
the design review board of the Cleveland Botanical
Garden. His clients have included Walt Disney
World, IHOP, Sears, Wolfgang Puck and BMW.
He and his family live in a house he designed,
expanded and renovated “with the help of my
father and a family full of trades people.” It’s filled
with furniture he designed and built in his home
shop. Gollini plays guitar, goes to concerts with his
kids and has a passion for movies as both lowbrow
entertainment and a wildly influential art form.
Likewise, he hopes his students bring varied
experiences to their studies and careers. “We must
encourage students to carry on with their studies
in art and literature,” he says. “These influences
will build depth and broaden the spectrum of their
work in their major. An eclectic education will build
a student’s character and personality.”
On teaching:
I try to encourage my
students to think beyond
the obvious while
designing or doing
research. If the project is
to design a coffee shop,
they need to go further
into the DNA of the
customer and their
design proposals.
On technology:
Working with a Wacom
Cintiq and my traditional
drawing-board skills,
I can produce images
that bridge traditional
and contemporary
while giving me editing
flexibility that I didn’t
have 10 years ago.
On his media shelves:
I have a ridiculous
comic and graphic novel
collection going back
to the mid ’70s. This art
form is what motivated
me to attend art school.
194 cia.edu/admissions 195
Chair: Craft + Material Culture Environment
Department Head: Enameling
Professor: Enameling
Kent State University, MFA and BFA, Enameling
Gretchen Goss balances the time devoted to
teaching and her studio with as much time as
she can engaging with nature through gardening,
picking and canning fruits and vegetables, running
trails and swimming in lakes whenever possible.
So it’s little surprise that when she gets into her
studio to create enamel art, nature shows up in
spades. Farms, gardens, plant forms and the
tranquility of water are recurring themes in Goss’
work. And for more than 30 years, Goss has been
committed to exploring the medium of enamel
with students and artists.
“It is liberating to work in a medium so unique and
rarely seen in mainstream art and contemporary
craft practice,” Goss says.
Goss enjoys travel and often travels based on
teaching engagements. “I’ve had the opportunity
to teach in England and on both coasts of the US
and between. I try to see and absorb as much of
the local environment as possible with each new
teaching experience.” Goss is also a frequent
exhibitor at the Philadelphia Museum of Art
Craft Show.
With students, Goss aims to relay knowledge by
example and exposure to established skills and
traditions. But it’s important, too, that students
feel encouraged to innovate. Her hope is that
even as they’re learning techniques and concepts,
they’re exploring a variety of career paths and
homing in on who they want to be as artists.
On her art :
An ongoing intrigue
with the natural world
and our interpersonal
relationships within it
are the inspiration for
my work.
On teaching:
It is my goal that this
environment of learning,
discovery, practice and
assessment will nurture
the development of each
individual student as an
independent artist.
On being green:
She attempts to leave
as minimal a footprint
as possible on the
environment, “and
there’s always room
for improvement.”
Gretchen Goss
Joyce KesslerChair: Liberal Arts Environment
Associate Professor: Liberal Arts
Case Western Reserve University, PhD, American Literature
Cleveland State University, MA
Cleveland State University, BA, English Literature
Joyce Kessler is a believer in the Socratic method of
teaching, giving students a chance to learn through
debate and discussion. She believes that teaching
is companionate; and her role is to walk with the
student to the place of learning.
An expert on the work of 20th century American
novelist Willa Cather, Kessler has written and
lectured on Cather’s transgendered characters,
on her narrative strategies regarding the
representation of race and on Cather’s use of the
visual arts in her fiction. Her article, “‘The Cruelty
of Physical Things’: Picture Writing and Violence
in Willa Cather’s ‘The Profile,’” will be published
in Cather Studies, volume 9, in 2011.
Beyond her work as Liberal Arts Environment
Chair, she served as Interim Dean of Faculty from
2005–2007 and in 1996 collaborated with the Office
of Academic Services to create the Center for Writing
and Learning Support, which helps students with
academic writing and study skills.
Off-hours she spends time reading and writing,
walking her Labrador, Cyro, and playing basketball
with her dachshund, Roxanne, and plying her daily
yoga practice.
On learning:
Students are expected
to learn not just from
me, but from each
other, as well, and to
contribute what they
know to the general
fund of knowledge as
the course proceeds.
On preparing to learn:
To foster their keenest
concentration, Kessler
makes her students
begin every class with
a few Yoga poses.
On the alternate
universe:
Kessler is pretty sure
she was a skateboard
hero in another life.
196 cia.edu/admissions 197
As life-long learners and practicing artists, CIA faculty
will keep you on the creative edge. Each year many of
our faculty apply to and are accepted into some of the
most prestigious national and international residency
programs. Generally completed over the summer, these
programs give faculty a chance to explore and refine
their technique or develop additional depth in their
art and design. What they gain from these enriching
residencies finds its way back into the classroom—
their experience becomes your experience.
Take a look at some of the residencies our faculty
have attended over the past two years.
• Burren College of Art in Ireland • Performing Arts Center in Calais, France • Dieu Donne Papermill in New York • Sculpture Space in Utica, NY • Swarm Gallery in Oakland, California • Banff Centre in Alberta, Canada • Artists’ Enclave at I-Park in
East Haddam, Connecticut • Headlands Center for the Arts in Sausalito, California • Caldera, in Portland, Oregon • Hambidge Center for Creative Arts & Sciences
in Georgia • Roswell Artists in Residence Program in New Mexico • Nantucket Island School of Design and the Arts • Camac Centre d’Art in Marnay-sur Seine, France • Fachhochschule University of Applied Sciences
in Schwaebisch Hall, Germany• Haystack Mountain School of Crafts
in Deer Isle, Maine • Northern Clay Center in Minneapolis
The Creative Edge
198 cia.edu/admissions 199
Faculty Partnerships = Student Experience
Our location in the heart of the region’s cultural, educational and
medical district is a catalyst for partnerships and collaborations that
are unmatched at any art and design school. And CIA faculty are at
the root of these relationships.
Our Biomedical Art students work with cancer researchers at University Hospitals and the Cleveland Clinic,
Fiber + Material Studies students help families design quilt patches for placement on the AIDS Memorial Quilt.
Students in the Visual Arts + Technologies Environment exhibit at the Coventry Arts Gallery and Communication
Design students design participant t-shirts for the Cleveland Marathon. We’ve detailed a few of the many
partnerships from the 2009–10 school year. Take a minute to read through each project and get a real sense
of the real-world experiences available at CIA.
Fantasy Chess Sets
Each year CIA Foundation Professor Barbara Stanczak takes her students to
the John G. White Collection of chess sets on permanent view at the Cleveland
Public Library. And each year she offers students the opportunity to take what
they’ve learned in her Foundation Design class and develop a unique chess
set of their own. They are required to create a set that includes 32 figures,
a playing board and a game storage piece. Through her partnership with the
library, Professor Stanczak’s students are then given display space in the
library to exhibit their chess sets.
CIA Students + Gauguin
When the Cleveland Museum of Art was looking for help in developing the educational component of
their world-renowned Gauguin Exhibit in the spring of 2009, they turned to CIA Associate Professor
of Printmaking, Maggie Denk-Leigh. Maggie’s students created a video on the lost art of xenographic
printmaking—a form of printmaking used in Gauguin’s time. The video played to all visitors of the exhibit—
running for more than 3 months. And then the relationship grew. CIA students created a companion exhibit
that ran alongside the Gauguin Exhibit. CMA curators asked all CIA students to submit artwork for a café-
style exhibit, in the Gauguin tradition. Both the student exhibit and the video continued with the Gauguin
exhibit as it went international, traveling to Amsterdam with the Gauguin Exhibition.
iPhone app
Every year in his Game Design classes, Knut Hybinette, Assistant Professor, T.I.M.E.–Digital Arts partners
his students with computer science students from Case Western Reserve University. Out of last year’s
partnership came a new iPhone app, ChromaWaves. Knut also reached out to three producers and a
creative director from the nationally renowned video game producer Electronic Arts (EA) to critique the
game. They gave ChromaWaves high marks and in August 2010 it officially launched as an iPhone app.
Sustainable Design
CIA students took local, sustainable design to a new level by creating furniture for
the future using materials from Cleveland’s past. In partnership with the nonprofit
salvaged woodworking firm A Piece of Cleveland (APOC), Associate Professor
Dan Cuffaro led junior Industrial Design students in a project to craft furniture
using materials reclaimed from deconstructed Cleveland buildings. The students
worked with real clients in departments throughout CIA to develop furniture
solutions for office and public space. They presented their designs and working
prototypes to the CIA community during an exhibit in CIA’s Reinberger Galleries.
The best of the designs will be built and used in CIA’s campus unification project,
which includes a significant renovation of the Joseph McCullough Center for the
Visual Arts and the construction of a new signature building adjacent to the JMC.
200 cia.edu/admissions 201
General StudiesKaja Tooming Buchanan
Foundation Petra Soesemann, Chair
Kim Bissett
Barbara Chira
Richard Fiorelli
Kidist Getachew
Adam Kadar
Kevin Kautenburger
Scott Ligon
Lorri Ott
Mark Moskovitz
Barbara Stanczak
Royden Watson
Christian Wulffen
Liberal ArtsJoyce Kessler, Chair
Charles Bergengren
Shelley Bloomfield
David Carrier
Diana Chou
Adina Davidson
Rita Goodman
David Hart
Maureen Kiernan
Diane Lichtenstein
Olatubosun Ogunsanwo
Jonathan Rosati
Gary Sampson
Franny Taft
Dan Tranberg
Allen Zimmerman
Craft + Material CultureGretchen Goss, Chair
Ceramics
William Brouillard
Judith Salomon
Enameling
Gretchen Goss
Glass
Brent Young
Sungsoo Kim
Jewelry + Metals
Kathy Buszkiewicz
Matthew Hollern
CIA Faculty
DesignDaniel Cuffaro, Chair
Industrial Design
Dan Cuffaro
Matt Beckwith
Carla Blackman
Ed Covert
Dennis Futo
Mike Jaeb
Bob Martinez
Douglas Paige
Anthony Santarelli
Adrian Slattery
Interior Design
Michael Gollini
Sherri Appleton
George Gatta
Scott Richardson
Laura Wolf
Communication Design
Mari Hulick
Lizzy Lee
Michael Lehto
Eugene Pawlowski
Christopher Ramsay
Danielle Rini-Uva
Integrated MediaKristen Baumlier, Chair
Biomedical Art
Amanda Almon
Beth Halasz
Thomas Nowack
Ross Papalardo
David Schumick
Photography
Barry Underwood
Matthew Fehrmann
Nancy McEntee
Mary Jo Toles
Illustration
Dominic Scibilia
John Chuldenko
Igal Hurvitz
Larry O’Neal
T.I.M.E.–Digital Arts,
Animation, Game Design,
Video
Kristen Baumlier
Nicholas Economos
Megan Ehrhart
Knut Hybinette
Kasumi Minkin
Sarah Paul
Visual Arts + TechnologiesSaul Ostrow, Chair
Drawing
Sarah Kabot
John Powers
Painting
Lane Cooper
Saul Ostrow
Tommy White
Printmaking
Maggie Denk-Leigh
Fiber + Material Studies
Christina Cassara
Bill Lorton
Sculpture
Charles Tucker
202 cia.edu/admissions 203
Yes, it ’s true–the lives of artists and designers are amazing and our alumni tell
that story through their work and accomplishments. For more than 120 years,
CIA alumni have launched incredible careers, prolific studio practices and
innovative design firms. From the American Da Vinci, Viktor Schreckengost
’29, to Illustration grad Marc Brown ’69, to groundbreaking painter Dana Schutz
’00 and Industrial Design grad Brian Peterson ’09 —if their names don’t seem
familiar, their work will. Take a look through the following pages, see what
they’ve accomplished and meet some of our more recent grads.
This year we caught up with some alumni in their New York studios.
Take a look at their videos and see how they’ve built their creative careers
on our website at cia.edu/alumniprofiles.
CIA Alumni
205
M a rk Re i g e l m a n S c u lp t u re 2 0 0 6 T h u T ra n G l a s s 2 0 0 5 Va le r i e M aye n I l lu s t r at io n 2 0 0 5
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De
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Vi k to r S c h re c ke n g o s t D e s i g n 1 9 2 9
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Jo h n S p i rk + Jo h n Not t i n g h a m I n du s t r i a l D e s i g n 1 97 2
Ju l i a n S t a n c z a k P a i nt i n g 1 9 5 4 C h a rle s S a l le e A r t E duc at io n 1 9 3 8
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M a rc B row n D r aw i n g 1 9 69 S c ot t R i c h a rd s o n I nte r io r D e s i g n 1 9 91
C h r i s t i B i rc h f i e l d P r i nt m a k i n g 2 0 0 6
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K r i s te n C l i f fe l C e r a m ic s 1 9 9 0
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D a n a S c h ut z P a i nt i n g 2 0 0 0 C h a rol le t B e c ke t t S c u lp t u re 2 0 0 2
D e re k H e s s P r i nt m a k i n g 1 9 8 8
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campus map
CIA1 Gund Building 2 McCullough Center 3 Taplin House
Resources4 CWRU Bookstore 5 Utrecht Art Store
Food6 Coffee 7 Mamma Santa’s Pizza 8 Presti’s Cafe 9 Qdoba 10 Tea House Noodles 11 Falafel Cafe 12 Food Co-op
Culture13 Cleveland Botanical Garden 14 Museum of Natural History 15 Severance Hall (Orchestra) 16 Cleveland Museum of Art
Nightlife17 Coventry 18 Little Italy 19 Downtown Cleveland
Parking
H Cleveland Clinic
+ University Hospitals
P
H
1
2
3
P
+
P
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cleveland + cia campus = your creative hub
Where you’ll live
The CIA community surrounds you with creative-
minded friends and mentors who will help you find
inspiration throughout Cleveland—a city full of cultural
energy, ethnic neighborhoods and an accessible
downtown core on our nation’s “north coast.” As
part of the country’s 16th-largest metropolitan
area, Cleveland is just the right size to offer big-city
benefits along with a close-knit feel.
For your first year at CIA, you’ll live on campus with
your fellow freshmen in Taplin Hall. And you’ll enjoy
meals at Case Western Reserve University dining
halls through a CWRU meal plan. After your first
year, you can move off campus to any of the nearby
neighborhoods. You might find an apartment above
the storefronts of Little Italy, built a hundred years
ago by Italian artisans whose grandchildren still
run authentic bakeries. Or you might commute
by bike from Coventry Village, where funky shops
and restaurants draw a diverse crowd from hippies
to hipsters.
Here, you’re close to some of the city’s best food
and entertainment. Grab pizza or cannoli up the hill in
Little Italy. Or take in a film at the Cleveland Institute
of Art Cinematheque, named one of the country’s
best repertory movie theaters by the New York
Times. The Cinematheque has made its mark locally
and nationally as a unique venue for independent
films, foreign flicks and events for movie buffs.
Make sure to travel into downtown Cleveland, just
five miles from campus, to tour the Great Lakes
Science Center or rock out at the Rock and Roll
Hall of Fame. Are you a sports fan? Cheer on the
Cleveland Indians, Cavaliers, or Browns at their
downtown stadiums.
But as great as our city is, we know you’ll spend
much of your time in the studio. That’s why our Office
of Student Life organizes activities to make sure you
take a break sometimes—whether it’s laser tag, ice
skating, or a comedy act. Plus each year you’ll look
forward to the wildly creative Halloween costume
party and the year-end Pink Pig student picnic.
224 cia.edu/admissions 225
Where you’ll learn
Our campus is located in the cultural heart of the
city, known as University Circle. Packed into one
square mile are more than 20 of the region’s most
prestigious cultural institutions. We consider many of
our neighbors to be an extension of our classrooms:
Liberal Arts students experience art history at the
Cleveland Museum of Art. Game Design students
develop prototypes with computer programmers at
Case Western Reserve University. And Biomedical
Art students study exotic plants and animals in the
Cleveland Botanical Garden.
We are committed to helping you become an
integral part of the greater Cleveland community.
So we connect you with opportunities to give back
and help out. Last year, for example, some of our
students partnered with MetroHealth to lead quilt
panel-making workshops so local families could
honor loved ones through the AIDS Memorial Quilt.
And each year some even go on alternative spring
break trips—like working with Habitat for Humanity
in New Orleans—where they give their time and
talents to great causes.
Where you’ll show off your work
No matter how much you enjoy your time in the
city, though, we never forget why you’re at The
Cleveland Institute of Art: to become a practicing
artist or designer. You need not only instruction
and inspiration, but also real-world experience
and exposure. So we offer multiple opportunities
throughout the year for you to exhibit on campus
and around town. You’ll become a pro at
presenting your work and you’ll build ties along
the way with professionals in Cleveland’s art
and design community.
Student Independent Exhibition:
Each winter, CIA students present their annual
Student Independent Exhibition in the Reinberger
Galleries. Organized, promoted and curated entirely
by students, this juried exhibition showcases work
from across CIA’s majors—and it offers community
members the opportunity to acquire your work
for their own collections.
BFA Thesis Exhibition: Preparation for your
capstone BFA review threads throughout your entire
senior year. You’ll develop a concept at the beginning
of the year and have mid-year progress reviews
before winter break. Finally, in BFA week at the end
of the spring semester, you’ll display your thesis
exhibition and present an hour-long defense of your
mature body of creative work.
Spring Show: This campus-wide student exhibition
presents an unparalleled range of ideas, materials
and technologies to the University Circle community.
The artwork is displayed at various Cleveland
locations organized by Environments, or groups of
majors: Foundation, Design, Craft + Material Culture,
Integrated Media and Visual Arts + Technologies.
Best of all, many employers and collectors visit the
spring show to see your work.
Coventry Center: You might have a chance to
exhibit your work off-campus at this art center,
maintained by the Visual Arts + Technologies
Environment in former retail space on Coventry Road.
The Coventry Center hosts CIA classes during the
week and workshops, artists talks, student-curated
exhibitions and public art events on weekends.
Studio Spaces: We give all students their very
own studio space to customize. You’re free to
fill it with whatever inspires you—posters, paint,
tools, magazine cut-outs, t-shirts, stuffed animals,
pictures of friends—or nothing at all. And each
department proudly displays student work
throughout its studio area.
Community Partnerships: Many of our
neighboring institutions partner with us to host
student-run shows or shows that include your
artwork or designs. For instance, three times a
year, an art history graduate student from Case
Western Reserve University curates an exhibit
at the Cleveland Foundation featuring the work
of CIA students. Our students’ artwork hangs
in the Mandel Building on the CWRU campus.
And the Peter B. Lewis Collection, a surprisingly
extensive contemporary art collection managed
by the chairman of Progressive Corporation,
offers internships to our students and often
acquires their artwork.
226 cia.edu/admissions 227
CIAStudents attend CIA from all over the country and all over the world.
Approximately 500 undergraduate
students from across the globe
attend the Institute.
228 cia.edu/admissions 229
Applying to a college can be a daunting
task. That’s why we believe very strongly in
providing a personal approach at this most
important time of your life. We encourage
you to contact us early in your college search
so that we can help you prepare the best
possible application.
Contact us and we’ll put you in touch with
an Admissions Counselor. They’ll answer
any questions you have and confirm if your
application and portfolio meet our submission
requirements. In addition to your portfolio,
you will be assessed on your academic
and leadership potential.
For details on each part of the process
contact an admissions counselor at
1.800.223.4700 or visit our website
at cia.edu/admissions.
Visit us! It’s not required, but we encourage it and
welcome the opportunity to meet you and review
your portfolio in person. When you visit, you can
tour our campus, meet our faculty artists and see
our students at work in their own studio spaces.
To schedule your visit, go to
cia.edu/admissions or call the Office
of Admissions at 1.800.223.4700.
Submit the following to the
Office of Admissions:
1. The application (available
online at cia.edu/admissions)
2. The $30 application fee
3. A personal statement outlining
why you’re applying
4. High school/college transcripts
5. A letter of recommendation from
an art teacher or counselor
6. Your scores on the SAT or ACT
7. Your portfolio
Important Dates
To receive the maximum consideration for
admission, financial aid and merit scholarships,
you should adhere to the following application
deadlines for the fall semester:
Early Action 1: December 1
Early Action 2: January 15
Regular Decision: March 1
To receive maximum consideration for financial aid,
your financial aid applications should be submitted
by March 15 of the applicable year.
Students wishing to compete for mid-year
(spring semester) scholarships should complete
applications no later than January 1.
230 cia.edu/admissions 231
We also consider your portfolio to be an important
asset in the development of your career. It informs
us of your artistic experience, education and talent.
You’ve spent a long time preparing for this moment
and the following guidelines will help you to create
a portfolio that best reflects your work.
Portfolio Review
The Admissions Committee will evaluate your
portfolio and will assess your technical abilities,
conceptual problem-solving skills and your use of
your chosen mediums. Schedule an appointment
with one of our Admissions Counselors for a
preliminary portfolio review. A campus visit and an
appointment with one of our counselors can provide
feedback on your current work and guide you as you
work towards your best possible portfolio.
Additional admission requirements, including your
academic credentials, personal statement and
letter of recommendation, will be considered upon
completion of your application for admission.
Build Your Portfolio
Your portfolio must be submitted in CD or DVD
format. If you are unable to provide a portfolio
in these formats, please contact the Office of
Admissions for assistance. We do not accept actual
artwork of any kind. Your portfolio should include
no less than 12 and no more than 20 pieces of your
original artwork. Please do not send more than 20
pieces. This number will give us enough information
to make an accurate assessment of your abilities.
At least four of those pieces must be drawings
from observation.
Your portfolio is the cornerstone of your application to The Cleveland
Institute of Art and is a significant part of the admission decision.
Your Portfolio
Observational drawings include still life, gesture,
or figure drawings, portraits and landscapes. We
encourage you to feature your strongest pieces
made in your junior and senior years. Portfolio pieces
can take many forms including (but not limited to)
drawings, paintings, prints, photographs, sculptures,
mixed media and/or found-object pieces, computer-
generated works, illustrations, animations and
clay, metal or glass objects.
Work copied from photographs or other published
works do not make strong portfolio pieces. If you
use source photos, try not to use them as the sole
inspiration for your work. The order in which you
present your work can have a significant effect on
your portfolio review, therefore we suggest you
end your presentation with your strongest piece.
Relationships in color, media, composition and
concept can link one piece to another and help
your portfolio flow in a cohesive manner.
CD or DVD
Discs should be labeled with the following:
• Applicant’sfullname
• Homeaddress
• Phonenumber
• Emailaddress
1. Individual files should be in JPEG ( jpg) format
with a file size not exceeding 1MB each.
2. Animation or video work must be submitted
in either QuickTime (.mov) format or Windows
Media Video (.wmv) format.
3. It is preferable that images be assembled
and presented in a slide show format,
using PowerPoint, Acrobat, or another slide
show application.
4. Please submit a numbered list in Microsoft
Word on the disc with the title, size, medium
and a brief description of each piece.
5. Please do not stick any labels to the front of the
CD; mark directly on it with permanent marker.
Go to cia.edu/admissions for more information
on photographing your work and preparing your
portfolio. Or contact an admissions counselor at:
1 .800. 223.4700.
Note: No application items will be returned and it is recommended you keep an original copy of your submission for your records.
232 cia.edu/admissions 233
Financing Your Education
We work with you to craft a personalized financial
aid package that combines any available CIA-
sponsored aid, federal aid, scholarships, loans,
workstudy and more. Once you have received
an acceptance letter from CIA you may be eligible
for federal financial if you:
• are a U.S. citizen• have a high school diploma or general
equivalency credentials (the GED)• have registered for the draft if you are a male
between ages 18 and 26 (see sss.gov)• maintain satisfactory academic progress• qualify for need-based assistance through
the Free Application for Federal Student
Assistance (FAFSA)
If you are a U.S. service member or veteran who
qualifies for Post-9/11 GI Bill funds, CIA offers a
significant amount of supplemental funds through
the Yellow Ribbon Program. For details, contact
us or visit gibill.va.gov.
The Institute awards your financial aid package
according to your need-based eligibility, which
is calculated by subtracting your expected family
contribution (EFC) from your cost of attendance.
Your cost of attendance (COA) includes more than
just your tuition and housing bills—take a look at
the Cost of Attendance on the next page.
Our review process for financial aid will begin once
we receive two important pieces of information:
• Your completed CIA 2010–11 Application for
Financial Aid, found under the Financial Aid
Forms section at cia.edu/financialaid
• FAFSA Results: the results of your Free
Application for Federal Student Aid (FAFSA),
a federally administered application found at
fafsa.gov (CIA’s FAFSA code is 003982)
Through the FAFSA process you will be assigned
an estimated financial contribution (EFC). Your EFC
is based on a standard formula established by
Your education is an investment in your future as an artist and when you
enroll at The Cleveland Institute of Art, you’re getting the very best education.
Our Office of Financial Aid is committed to helping you find ways to close the
gap between the cost of attending CIA and your ability to fund this education.
As you begin to make important choices, please keep in mind: 98% of CIA
students receive financial assistance
$30,840
2,082
6,326
4,630
43,878
2,000
2,000
45,878
Pe
r Y
ea
r
Tuition
Estimated fees
Room (On-Campus)
Board (On-Campus)
Direct Costs Subtotal
Books & Supplies (Estimate)
Indirect Costs Subtotal
Cost of Attendance Total
Your transportation and personal expenses can be included in your cost of attendance and factored into your eligibility depending upon how far you live from Cleveland or the amount of personal expenses you expect to incur. We estimate the average annual cost of travel to be $1,400 and personal expenses to be $1,940. If these amounts match your personal situation, then you would add them to the overall cost of attendance listed above, bringing your estimated cost of attendance to $49,218.
The cost of attendance for 2010–11 will be available at cia.edu/financialaid as soon as rates become official. Note that if you receive financial aid that exceeds your direct costs, you will be refunded the excess to help pay for your indirect college expenses.
Congress and is used as a measure of your family’s
financial strength. The direct and indirect costs of
your CIA education comprise your cost of attendance
(COA). Through the FAFSA process you will be
assigned an expected family contribution (EFC).
Your eligibility is determined by subtracting your
EFC from your COA.
Putting Costs into Perspective Your cost of attendance includes more than tuition
and housing bills. Our financial aid calculations
account for costs that are both direct and indirect:
Direct costs are billed directly from CIA. Direct costs
include tuition, institutional fees and on-campus
room and board (off-campus room and board costs
and are considered indirect).
Indirect costs are items not charged to your CIA
account, such as books and supplies, transportation
and personal and other fees, are considered part of
your COA budget for financial award determinations.
Don’t be daunted by the size of your COA! You
can reduce these figures by combining multiple
means such as financial aid, student work-study
programs, scholarships, grants and loans.
234 cia.edu/admissions 235
Resources for Tuition Support
Scholarships
Scholarships, which are usually based on special
qualifications or merit, do not need to be repaid.
You are automatically considered for CIA merit-
based scholarships if you complete your FAFSA.
There are no extra application procedures for
CIA merit-based scholarships. Many students
combine multiple scholarships to reduce their
cost of attendance.
CIA Merit Scholarships
You may compete for a renewable merit
award based on the strength of your portfolio
and academic achievement. The following
awards range from several thousand dollars
to full tuition annually:
• CIA President’s Scholarship• CIA Provost’s Scholarship• CIA Dean’s Scholarship• Cleveland Institute of Art Grant• External Scholarships
We encourage you to find and apply for external
scholarships to supplement any CIA-based aid
you might receive. To be considered for external
scholarship support, you will need to contact the
funding organization and follow their application
procedures. For example, you might apply for a
scholarship from the Cleveland Foundation. You
can find a list of external scholarship resources
at cia.edu/financialaid.
Work Study
The Federal Work-Study Program allows you to earn
funds for your educational expenses by working at
a part-time campus-sponsored job. To qualify for
this federally funded program, you must demonstrate
need on the FAFSA as part of the yearly Financial
Aid application process. It is your responsibility to
apply for a designated work-study job, which you
can find listed in CIA’s Work Positions Guide. Once
you have located a job opening, interviewed and
been hired, you will work with the Office of Financial
Aid to complete the required paperwork.
School-based financial aid is just one avenue of support that you can apply
to your overall tuition costs. You can pursue funding through student
scholarships, state- and federal-based financial aid programs, student work
study programs and private or public loan programs. A brief discussion of
each area is contained below along with additional references where you
can find further explanation and opportunities.
Grants
You do not have to repay grants, which are based
on financial need. Once you complete your FAFSA,
you are automatically considered for grant funds.
There are no additional application procedures
for grant consideration. The following grants are
available through Institutional, Federal and State
of Ohio Financial Aid programs.
• Federal Pell Grant: The government uses
your FAFSA to determine your eligibility
for this grant.
• Federal Academic Competitiveness Grant:
To receive this grant, you must be eligible for
the Federal Pell Grant, enrolled full-time in your
first and second academic years (with a 3.0
GPA) and graduated from a rigorous high
school program of study.
• Federal Supplemental Educational
Opportunity Grant: This campus-based grant
program offers limited funding to Pell Grant–
eligible students who demonstrate exceptional
financial need as determined by the FAFSA.
• CIA Grants: The Cleveland Institute of Art
awards grants to students with exceptional
talent, academics, or need, based on
information submitted to the offices of
Financial Aid and Admissions.
• Ohio College Opportunity Grant (OCOG):
This grant is based on Ohio residency, first
college start date, enrollment status and
FAFSA results. You must complete the
institutional CIA Financial Aid Application
each year to qualify for all state awards.
Loans
An education loan is a form of financial aid that must
be repaid, with interest. Education loans come in
three major categories: federal student loans, federal
parent loans and private student loans (also called
alternative student loans).
When it comes to education loans, parent
PLUS loans and private student loans are often
the primary choices for last-dollar financing
of a college education.
• William D. Ford Federal Direct Loan:
Eligible first-year dependent students may qualify
for up to $5,500 in this low interest student loan
program. Direct loans are either subsidized or
unsubsidized. Subsidized Direct Loans have the
interest paid by the Federal Government while
the student is in school. Unsubsidized Direct
Loans accrue interest while the student is in
school, but students aren’t required to begin
repayment until after they leave school. CIA
uses information from the FAFSA to determine
eligibility for a subsidized or unsubsidized Direct
Loan. Independent students may be eligible
for additional amounts through the Direct Loan
Program. Payment of Direct Loans is deferred
until six months after graduation from CIA.
• William D. Ford Federal Direct PLUS Loan:
PLUS stands for Parent Loan for Undergraduate
Students. Parents may acquire these low-interest
loans for their child attending CIA. PLUS loans
may either be paid back while the student is
in school or deferred until six months after
graduation. A PLUS Loan is a cost-effective
solution for parents to help keep their student’s
debt burden as manageable as possible.
The interest rate for Federal Parent PLUS Loans
is annual fixed interest rate of 7.9% for loans
disbursed on or after July 1, 2010. The interest
rate changes each July 1. For more information
on PLUS Loans, go to cia.edu/financialaid.
• Alternative/Non-Federal/Private Loans:
Private lending institutions offer a variety of
student loan programs. CIA works with private
banks and can assist you with information
on these loans.
236 cia.edu/admissions 237
Academic Services
At the Cleveland Institute of Art we are committed
to providing our students with the best resources,
inside and outside the classroom. Our Writing
Center, Career Services and Jessica Gund Library
are just three of the many ways we supplement
learning and studio practices.
CIA Writing Center
The Academic Writing Center is a learning support
facility jointly sponsored and administered by the
Liberal Arts Environment and the Academic Services
Office of The Cleveland Institute of Art. At the Center
you’ll receive instructional support for baccalaureate
degree program courses involving writing and
research. In addition we’ll provide you with guidance
on time management and study skills along with
other areas that lead to success in academic life.
You can also participate in a rotating series of small-
group workshops on specific aspects of the writing
process. We welcome students at any time during
Center hours or you can make an appointment
to work with tutors in preparing your academic
writing assignments.
Career Services
We take your career very seriously—whether you
choose to build a studio practice, join an established
business or continue your studies toward an advanced
degree. We are here to provide tools, resources and
strategies to help you reach your goals. We maintain
excellent partnerships with employers in the art and
design world that result in sought after internships
and real-world experience. We recommend that you
pursue internships during your junior and senior year.
You’re encouraged to contact us a semester before
you’d like to pursue an internship so that we can
assess your skills and determine what opportunities
are best for you. At the CIA Career Center we will:
• Help you obtain a credit- or non-credit-
bearing internship
• Manage an on-campus recruiting program
• Connect you with CIA alumni for career
exploration and information
• Give one-on-one career advising
• Assist with resume and cover letter writing
• Coach on interview techniques and job
search skills
• Assist with projects and assignments in the
Professional Practices course
• Provide handouts on job search strategies,
networking and interview techniques
• Provide access to College Central,
an online job board
As a CIA alum you are an important part of our
community and the Career Center is here for you
long after graduation. Contact us at any point in your
career for one-on-one career advising, coaching
on interview techniques and resume writing and
offer tips on job search strategies and networking.
In addition, your access to our online job board,
College Central, will continue as an alum.
Jessica R. Gund Memorial Library
Putting art in context, researching the artists that
came before you and learning more about historic
movements in art and design are important building
blocks of an art and design education. CIA’s
Jessica R. Gund Memorial Library is dedicated
to the specific research needs of the visual artist,
designer and craftsperson. Our collections contain
more than 45,000 books, exhibition catalogs and
CD-ROMs; 145 current periodical subscriptions;
over 125,000 art and architecture slides as well as
access to a broad range of digital images; 1,600
sound recordings; 600 videotapes, DVDs and films;
a picture file for visual reference; access to online
databases and full text resources; and an extensive
collection of “artists’ books” (books made by
artists as art).
Our collections support the Institute’s accredited
degree programs, with a special focus on providing
materials for studio-intensive instruction. The library
documents the major participants, events and trends
of international contemporary art, photography,
craft and design; includes theory and technical
information as well as visual resources; and makes
available a variety of professional, legal and business
information for artists. The library’s collection of
contemporary art publications ranks with the best
American colleges and universities.
The Institute’s collection of artists’ books, begun
in 1982, is a nationally renowned collection. Dating
from the 1960s to the present, this collection of
1,300 books represents the range of books made
by artists from North America and Western Europe.
Some of the classic books in the collection are from
artists such as Carl Andre, Robert Barry, Douglas
Huebler, Edward Ruscha’s Twenty Six Gasoline
Stations, Daniel Spoerri’s Anecdoted Topography
of Chance, Ray Johnson’s Paper Snake, Vostell
and Higgins’ Fantastic Architecture, Agnes Denes’
Map Projections and Martha Rosler’s Service.
238 cia.edu/admissions 239
Call us at 1.800. 223.4700. We’ll connect you with an admissions counselor to
answer your questions, or connect you with one of our student ambassadors.
Share this book with parents, friends, and teachers.
Schedule a visit so we can show you all that CIA and Cleveland
have to offer you.
Be sure to get a copy of our portfolio tips prior to submitting your portfolio.
We’ll see you in August.
next steps
1 voice your passion
2 ask us
3 make the trip
4 prepare portfolio + application
5 apply: cia.edu/admissions
240 241
IndexAAcademic Services 238–239
Career Services 239
CIA Writing Center 238
Jessica R. Gund Memorial
Library 239
Accreditation & Membership 15
Adanich, Jessica 164
Adorni, Nick 57
Alumni 205–217
Beckett, Charollet 216
Birchfield, Christi 213
Brown, Marc 212
Cliffel, Kristen 214
Grasso, Ben 215
Hess, Derek 217
Mayen, Valerie 207
Nottingham, John 210
Reigelman, Mark 206
Richardson, Scott 212
Sallee, Charles 211
Schreckengost, Viktor 208
Schutz, Dana 216
Spirk, John 210
Stanczak, Julian 211
Tran, Thu 206
Animation 32–39
Apply 230–231
Deadline 231
Schedule a Visit 230
Submitting 231
BBeaufort, Claire 72
Bekoscke, Torianna 107
Bell, Laura 150
BFA Thesis Exhibition 227
Bible, Rebecca 114
Biomedical Art 40–47
Bristow, Amanda 130, 154
Building Your Portfolio 232
CCampanella, Antonia 50
Campus Map 218
Campus Overview 224–225
Career Services 239
Ceramics 48–55
Chepke, Julia 85
Communication Design 56–63
Community Partnerships 227
Cost of Attendance 235
Coventry Center 227
Creative Edge 198
Creative Hub 224–227
Cumming, Justin 113
DDiSalvo, Adrienne 132
DiVita, Ryan 151
Drawing 64–71
Drmota, Megan 147
Dujmovic, Tina 65
EEarly Action Dates 231
Eiser, Martin A. E. 144
Elek, Tim 36
Enameling 72–79
Environments 15
FFaculty 187-203
Baumlier, Kristen 188, 203
Cassara, Tina 194
Cuffaro, Dan 189, 203
Denk-Leigh, Maggie 190
Getachew, Kidist 202
Gollini, Michael A. 195
Goodman, Rita 24
Goss, Gretchen 196, 202
Hulick, Mari 191
Kessler, Joyce 197, 202
List by Department 202–203
Ostrow, Saul 192, 202
Soesemann, Petra 202
Young, Brent Kee 193
Faculty Partnerships 200
Faculty Residencies 198
Fiber + Material Studies 80–87
Financial Aid 234–237
Foundation 16–23
GGame Design 88–95
Garrigan, Ivy 83
Geigel, Katie 115
Getachew, Kidist 180
Glass 96–103
Glick, James 156
Goto, Yumiko 55
Graphic Design 56–63
Grants 237
Green, Amy 76
Greiner, Josh 118
Groh, Sarah 149
Grove, Slate 103
Guhde, Jeffrey 161
Gulan, Nicholas 66
HHaines, Alex 133
Hanson, Samantha 138
Hardink, Brion 9, 163
Hardy, Dana 87
Harris, Warren 179
Hemphill, Lauren 32, 39
Khalil, Nemat-Allau 148
Hippler, Alexis 45
Holtzinger, Adam 97, 98
Horner, Melissa 52
Houry, David 34
Howat, Ellen 44
Hric, Mike 100
IIllustration 104–111
Industrial Design 112–119
Inman, Brooke 152
Interior Design 120–127
JJessica R. Gund Memorial
Library 239
Jewelry + Metals 128–135
Johnson, Bryan 116
Joki, Andrea 155
Jurkiewicz, Laura 101
KKennedy, Jacquie 19, 79
Kinsley, Ben 181, 182
Knapp, Wendy 47
Kuhar, Andrew 89, 94, 172
LLeitten, Sarah 173
Liberal Arts 24–31
Loans 237
Loesel, Katie 157
MMagerkurth, Kristen 22
Maibach, Ryan 112
Mazuranic, Antonia 139, 143
Marks, Michael 68
Marzella, Trevor 58
Mason, Kara 63
McKenzie, Amanda 122
Merit Scholarships 236
Morsch, Alexander 70
Mote, Stephanie 18
Munchoff, Mike 126
NNext Steps 240
Nydza, Nicole 82
OObando, Jessica 60
PPainting 136–143
Palmer, Matthew 140
Parland, Katie 62
Pearce, Brad 99
Peigowski, Stephanie 53
Photography 144–151
Pope, Carl 31
Portfolio 232
Building Your Portfolio 232
Questions 233
Review Process 232
Submitting a CD or
DVD 233
Printmaking 152–159
Programs & Majors 14–183
Animation 32–39
Biomedical Art 40–47
Ceramics 48–55
Communication
Design 56–63
Drawing 64–71
Enameling 72–79
Fiber + Material
Studies 80–87
Foundation 16–23
Game Design 88–95
Glass 96–103
Illustration 104–111
Industrial Design 112–119
Interior Design 120–127
Jewelry + Metals 128–135
Liberal Arts 24–31
Painting 136–143
Photography 144–151
Printmaking 152–159
Sculpture 160–167
T.I.M.E.-Digital
Arts 168–175
Video 176–183
Promersberger, Brandon 23
RRauschenberger, Andrew 67
Rifkin, Liza 77
Robles, Kira 146
Roush, Adam 109
Ruccella, Brittany 86
Rush, Matt 124
SSanders, Dorian 171
Sand, Chadd 35
San, Jessie 46
Sarama, Brian 51
Savage, Mary 74
Schedule a Visit 230–231
Scholarships 236
Sculpture 160–167
Shank, Carolyn 106
Shelton, Rachel 158
Simmering, Zack 113
Sladek, David 111
Smith, Danielle 131
Snowden, Alexandra 84
Spencer, Charmaine 165, 166
Spring Show 227
Spoerndle, Thomas 142
Staiger, Elizabeth 128, 135
Steward, Darius 71
Stibitch, Scott 162
Storie, Jack 110
Strasser, Andrew 181
Student Independent
Exhibition 226
Studio Spaces 13, 227
Sustainable Design 201
TT.I.M.E.–Digital Arts 168–175
Tuition 235
Cost of Attendance 235
Direct Costs 235
Indirect Costs 235
Tuition Support 236–237
Grants 237
Loans 237
Merit Scholarships 236
Scholarships 236
Work Study 236
Turner, Kaley 75
UUeda, Yu 168
University Circle 226
VValasco, Liz 159
Video 176–183
WWiden, Katherine 137
Wilhelm, Hannah 42
Wiser, Jim 93, 95
Work Study 236
Writing Center 238
YYellow Ribbon Program 234
ZZarobell, Richard 134
Zhou, Quan 117
B a c k C ove r: S e a n S we e n e y ’ 10
242 cia.edu/admissions Color Photography: Rob Muller / Design: TWIST Creative, Inc.
THE CLEVELAND INSTITUTE OF ART
11141 East Boulevard Cleveland, OH 44106 USA cia.edu
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