Cleveland Institute of Art Senior Viewbook 2011

cleveland institute of art

6 introduction 14 majors + programs

186 our faculty 208 cia alumni 222 campus map 224 student life 232 get started

232 Apply234 Your Portfolio 236 Financing Your Education238 Resources for Tuition Support240 Academic Services242 Next Steps

16 Foundation 24 Liberal Arts32 Animation40 Biomedical Art48 Ceramics56 Communication Design (Graphic Design)64 Drawing72 Enamel80 Fiber + Material Studies88 Game Design

96 Glass104 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 129-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

Whatever your interest, we’ve got your major.

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 who influence you, offer tools

that inspire innovation, and structure our environments for your

creative exploration.

We are dedicated to teaching artists and designers.

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Why CIA?


Our 9:1 student-to-faculty ratio guarantees maximum time with CIA’s

extraordinary faculty. Small class sizes allow for instruction around a table

or in studio, not in a large lecture hall.

As practicing artists and designers, CIA faculty understand the challenges and

rewards of a career in art and design and pass that experience on to you. They

are lifelong learners who push the boundaries of their art. Their work is in the

permanent collections of the world’s finest museums and their designs are used

in products today or are a part of public spaces around the country. Read more

about our faculty on pages 186-207.

Whether your dream is to be a studio artist, product designer, or game designer,

we’re confident you’ll achieve your goals—and we have the track record to prove it.

Nearly 90% of our 2010 graduates are working in an art or design field or are

enrolled in a graduate program. Turn to page 208 to see the professional

work of CIA alumni.

In your sophomore year you’ll get your own studio space. Turn the page and

see what we mean.

9:1 Ratio

Focus on Art + DesignCIA is a specialized school of art and design, so from your first day of classes

as a freshman until your final senior BFA project, you’ll take classes in art,

design, or craft. You’ll enter your major in your sophomore year and benefit

from our commitment to cross-disciplinary education—if you choose to explore

media or work with artists outside your major, you can. Learn more about our

curriculum on page 14.

Exceptional Faculty

Your Career

Your Own Studio

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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.

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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 (learn more about

CIA’s Environments on the next page). 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 Exhibition. Not many art and

design colleges require this intensive 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


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, and is a member

of the Association of Independent Colleges of Art

and Design (AICAD).

Our Environments are:

Visual Arts + Technologies

Drawing, Fiber + Material Studies, Painting,

Printmaking, Sculpture

Design

Communication Design (Graphic Design),

Industrial Design, Interior Design

Craft + Material Culture

Ceramics, Enamel, Glass, Jewelry + Metals

Integrated Media

Animation, Biomedical Art, Game Design,

Illustration, Photography, T.I.M.E.–Digital Arts, Video

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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 into 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,

design, and media areas. The elective provides

exposure to help you make an informed choice

about your major and your future career path.

Foundation


Courses:

• Digital Synthesis • Drawing I & II • Design I & II • 3D Design • Design Woodshop Lab • Material Color + Digital Color • Collaboration and Community Charrette* • Self and Other Voices Charrette*

*Charrettes engage student groups in projects where they explore topics and collaboratively build strategies and solutions.

Freshman Environmental Electives: • Craft + Material Culture• Integrated Media• Visual Arts + Technologies• Design

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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, you will complete rigorous assignments

requiring writing and research across your degree

curriculum, and these will enable you to convey

strongly a point of view informed by the world’s

diverse commnunities.

Liberal Arts


R it a G o o d m a n Fac u lt y

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 Vernacular Architecture • Advertising Images • History of Photography• 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

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.


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 • Introduction to 3D Animation • Introduction to Animation • Introduction to Media Production

and Integration• Narrative Production I & II • Narrative, Image, and Sequence • Screenwriting • Sound Design • Digital Texture and Lighting • Video I • Visual Organization and Media • Web Practice and Presence • 3D Character Animation • BFA Preparation • BFA Thesis and Exhibition

Freshman Environmental Elective• Integrated Media

Careers:

• Commercial animator • Fine artist/animator • Independent animator • Texture artist/texture painter • 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

32 L au re n H e m p h i l l ’ 10

Animation is a medium that breathes life into concept through movement.

As an Animation student you’ll discover how the dialogue of an otherwise

stagnant image or object changes and evolves when put to motion.

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. CIA’s 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.

You’ll learn to put personality into movement through

concentrated study of the mechanics of human

and animal motion. Life drawing and acting help

develop original characters in design, movement,

and personality. Projects in this major develop a

better understand of the impact on motion and sync

of timing, spacing, exaggeration, secondary action,

weight, volume, lighting for specific physical or digital

environments, and sound.

You’ll work with resources that include all major

animation, video, editing, and compositing programs

standard for industry, along with traditional animation

drafting light tables, a video pencil test system,

stop-motion Lunchbox capture system, 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 our 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

you the flexibility 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, Image, and Sequence• 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• Introduction to 3D Modeling• Veterinary Illustration• Interactive Narratives • Digital Texture, Lighting, and Rendering• Forensic Modeling and Reconstruction• 2D/3D Compositing for Special Effects• Bioart Ethic and Image Interaction• Macro to Micro Simulation and Story• Surgical Illustration and Media • General Biology • Comparative Vertebrate Anatomy • Anatomy and Physiology I & II • Microbiology • Embryology • Histology • Micro Narratives • Human Biologye • Introduction to Digital Biomedical Illustration • Introduction to 3D Animation • Advanced Problems, Concepts and Media • BFA Preparation • BFA Thesis and Exhibition

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.

Core Studio courses in this major present you

with an opportunity to work closely with faculty in

Glass, Jewelry + Metals, and Enamel. These cross-

disciplinary courses offer an environment of diverse

skill building, experimentation, and discovery.

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 Preparation • BFA Thesis 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• Photo Digital Imaging I• Advanced Design Studio I & II• Production• Graphics for Design• Web Design: Graphic User Interface I & II• Information Architecture• The Hand Made Book• Advertising Art Direction• Contemporary Design Studio• Publication Design• Limited Edition Portfolio Production• Visualizing Information• CIA Design Factory• BFA Preparation • BFA Thesis and Exhibition

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, installation, collage,

zines, and graphic novels.

As a student in CIA’s Drawing major, you’ll use

traditional and nontraditional 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 nontraditional 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 on one.

Drawing


Courses:

• Image and Form • Reproducibility • Aesthetics, Style, and Content • 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 • Independent Research Project • BFA Preparation • BFA Thesis 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

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 Enamel• The Printed Image in Enamel• Multiples in Enamel: Limited Edition,

Production, and Series • Enamel in the Public Realm• BFA Preparation • BFA Thesis and Exhibition

Freshman Environmental Elective: • Craft + Material Culture

Careers:

As an Enamel 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.

72 cia.edu/admissions C l a i re B e au fo r t ’ 07

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, Enamel majors at the Cleveland Institute of

Art enjoy strong support from both the industry and

patrons devoted to the medium.

Our Enamel 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 Enamel 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 Enamel, 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.

Core Studio courses in this major present you

with an opportunity to work closely with faculty

in Glass, Jewelry + Metals, and Ceramics. These

cross-disciplinary courses offer an environment

of diverse skill building, experimentation,

and discovery.

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 Enamel

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.

Enamel

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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• Reproducibility• Aesthetics, Style, and Content• Artist as Producer• Art in the Global Context• The Extended Body: Costume, Prosthetics,

and Extensions• Intro Fiber: String, Felt, Thread, and Ideas• Silkscreen• Weaving Patterns: Collective Activity • Fabrication and Material Studies:

Pattern and Structure• Fashion: Soft Architecture for the Body• Fiber Seminar: Topics in Contemporary

Art/Culture• Material Matters• Creative Resistance: Performance

and Media Installation• Installation: The Empire of the Senses• Performance Art: Intervention and Spectacle• The Artist and Social Practice• Independent Research Project• BFA Preparation • BFA Thesis and Exhibition


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 or Digital Texture • Lighting or Game Design: Special Topics • Digital Art and Design I & II • 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 • Introduction to Game Programming • Narrative, Image, and Sequence • Screenwriting • Sound Design • Video I • Visual Organization and Media • BFA Preparation • BFA Thesis and Exhibition

Freshman Environmental Elective: • Integrated 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, and 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. 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 our 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 Preparation • 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. In Core Studio courses

you’ll work closely with faculty in Ceramics, Jewelry

+ Metals, and Enamel. These cross-disciplinary

courses offer an environment of diverse skill building,

experimentation, and discovery.

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. 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, Image, and Sequence• 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 Preparation • BFA Thesis and Exhibition


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• 3D Modeling 1.1, 1.2, 2.1 & 2.2• Design Center-Based Learning • BFA Preparation • BFA Thesis and Exhibition

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.


M a n dy S te h o uwe r ’ 0 6

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.

Communication 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 Preparation • BFA Thesis and Exhibition

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 functional art—

including jewelry, fashion, utilitarian,

and small-scale sculptural objects.

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• Ceremony and Ritual• Forming and Fabrication• Color• Settings• Alternative Materials for Jewelry• Production• Settings: Advanced and Basic• Thesis/Professional Portfolio • BFA Preparation • BFA Thesis and Exhibition

Freshman Environmental Elective:

• Craft + Material Culture

Careers:

• Studio Artist: one-of-a-kind and

production jewelry• Designer • Modeler • Prototype developer• Object maker for interior/exterior home

decor and architectural detailing

128 cia.edu/admissions S u z z a n n e P e p p e r s ’ 1 2

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 techniques 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.

Core Studio courses in this major present you with

an opportunity to work closely with faculty in Glass,

Ceramics, and Enamel. These cross-disciplinary

courses offer an environment of diverse skill building,

experimentation, and discovery.

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• Reproducibility• Aesthetics, Style, and Content• 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 Studio: Medium Is the Message• Major Studio: Self, World, and History• Major Studio: Constructing Narratives

• Major Studio: Mechanics of Meaning: Subject,

Form, and Content• Painting Seminar• Criticism and Studio Practice• Popular Culture, Material Culture, and the Arts:

A Studio Course • Collaboration, Image, Object, Installation,

and Performance• Collage, Assemblage, and Installation• Hybrid Approaches to Drawing and Painting:

Digital Media• Independent Research Project• BFA Preparation • BFA Thesis and Exhibition


Careers:

The BFA degree will prepare you for a career

in the visual arts as a professional artist.

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 a curator, critic, 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 storied 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 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, Image and Sequence • Web Practice and Presence • Mechanics of Digital and Film• History of Photography • Studio Lighting • Editorial Photography • Fine Art Printing: Digital and Chemical • Visual Thinking in Contemporary

Photography: Projects/Presentations• Digital Photo Imaging I • Contemporary Color Photography

in Theory and Practice• Digital Lighting• Visual Thinking in Contemporary Photography:

Projects and Presentations• 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• BFA Preparation • BFA Thesis and Exhibition


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


M a r t i n E i s e r t ’ 10

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 state-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• Reproducibility• Aesthetics, Style, and Content• Artist as Producer• Art in the Global Context• Independent Research Project• Image Construction I: Line and Sequence• Image Construction II: Form and Color• The Artist’s Book Now: Narrative and Form• Collaboration Through a Printed Experience• Propaganda: Media, Dissemination, Techniques• Expanded Print: New Imaging• The Liberated Print: Investigation

of Alternative Methods• Hybrid Approaches to Drawing and Painting:

Digital Media • BFA Preparation • BFA Thesis and Exhibition


Careers:

• Studio artist• Professional contract printer• Print, graphic, or web designer• Museum professional• Conservation• Gallery professional• Exhibition curator• Collaborative project facilitator• Illustrator

Printmaking


B ro o ke I n m a n ’ 0 6

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.


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• Reproducibility• Aesthetics, Style, and Content• 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• Video I• 3D Modeling• Independent Research Project• BFA Preparation • BFA Thesis and Exhibition


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.

As a sculpture student you’ll craft traditional object-

based work as well as installations, performance

pieces, public art, social interventions, site-specific

works, and earthworks.

You’ll receive instruction from a faculty of professional

artists, with diverse approaches to art-making,

who are committed to mentoring their students.

Beginning-level courses in Sculpture 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 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.


Environment at CIA, Sculpture students share in

an integrated curriculum that will give you a broad

knowledge in the visual arts as well as an in-depth

conceptual knowledge of the practices associated

with Sculpture. 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 with extensive wood and metal

working capabilities. And we’re also proud to offer

you the use of 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:

• Visual Organization and Media• Narrative, Image and Sequence• Introduction to Media Production

and Integration• Video I• Sound Design• Moving Images in Space • Web Practice and Presence• 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• BFA Preparation • BFA Thesis and Exhibition


Careers:

• New media (electronic arts)

practicing artist• Graduate school• Teaching• Curators• Freelance and independent

media producer• Museum installation


Yu Ue d a ’ 1 1

We encourage you to experiment as you develop

hybridized projects that incorporate video, interactive

web, photography, and animation technologies. 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:

• Digital Photography I• Experimental Video or Motion Graphics• Introduction to Animation• Introduction to Media Production

and Integration• Lighting• Moving Image in Space• Narrative Production I & II• Narrative, Image, and Sequence• Screenwriting• Sound Design• Video I & II• Visual Organization and Media• Web Media Production • BFA Preparation • BFA Thesis and Exhibition


Careers:

• Videographer• Editor• Art director• Director• Director of photography• Video and special effects production• Production assistant• Compositor• Production designer

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CIAStudents attend CIA from all over the country and all over the world.

Approximately 500 undergraduate

students from across the globe

attend the Institute.


Our Faculty

As practicing artists and designers, CIA faculty

are mentors who teach from a place of experience

and success.

CIA faculty artwork 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. Our design faculty have obtained numerous

patents, 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.

On the next pages, take a look at some of our

faculty, learn about their own artistic explorations,

and see the partnerships they’ve built. Or see a full

list of faculty by department on page 206.

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.

187

Associate Professor: T.I.M.E.–Digital Arts

California College of Arts and Crafts, MFA

For Kristen Baumlier-Faber, 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-Faber 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-Faber 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 nontraditional 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-Faber


Dan Cuffaro

Department Head: Industrial Design

Anne Fluckey Lindseth Professor of Industrial Design

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.

189

Department Head: Printmaking

Associate Professor: Printmaking

Clemson University, MFA Printmaking

Xavier University, BA Printmaking, Graphic Design and Business

Denk-Leigh instructs 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 lifelong 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 Hulick

Associate Professor: Communication Design

Northwestern University, MFA

University of Michigan, BA

Art Institute of Chicago, Post Baccalaureate

As 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.

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 lifelong 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.

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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

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 tradespeople.” 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.

195

Chair: Craft + Material Culture Environment

Department Head: Enamel

Professor: Enamel

Kent State University, MFA and BFA, Enamel

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 U.S.

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.

197

Department Head: Ceramics

Associate Professor: Ceramics

New York State College of Ceramics at Alfred University, MFA

Bill Brouillard’s classes are structured around

technique, subject matter, and the quest to

develop a personal artistic voice. While class

work is grounded in studio practice, his students

also work in ideation and learn the history of the

medium.

As a practicing artist, Brouillard believes in

the value of experimenting, researching, and

understanding the value of creative dead ends—

where seemingly unsuccessful work finds a

second life as inspiration for future work.

Brouillard’s studio, a remodeled drugstore in a

former Cleveland steel-making district, inspires

him to incorporate industrial landscape and its

artifacts into his work. In contrast, his series of

majolica platters that he has been working on

since the 1980s springs from the Italian pottery

traditions of the fourteenth century.

On appreciating the

past and imagining the

future:

He loves vintage blues

music and has been an

avid reader of science

fiction since childhood.

On technique:

“I adopt new technology

when I can but much of

my work is done with

simple tools.”

William Brouillard


Sarah KabotDepartment Head: Drawing

Associate Professor: Drawing

Cranbrook Academy of Art, MFA

At the root of Sarah Kabot’s artwork, and that

of her students, is drawing. In her classroom

students are encouraged to challenge

boundaries within and between media, but for

Kabot’s students drawing skills are essential to

understanding relationships of form and are the

primary means to communicate ideas.

Through installation art, sculpture, and drawings,

Kabot investigates the way we visually navigate

an environment—altering physical space to

challenge common perceptions. Her studio space

in Little Italy is a dynamic environment where

she frequently works with CIA alumni on her

exhibitions.

Recently she has shown throughout the country at

several galleries in New York City, at the Museum

of Contemporary Art in Cleveland, Akron Art

Museum, and at the Peabody Essex Museum

in Salem, Massachusetts.

On the suburbs:

Kabot’s work is

influenced by the visually

repetitive environment

of her hometown in the

Detroit suburbs.

On taking walks:

Taking note of

architectural details and

quirky decorations on

local buildings keeps

Kabot and her dog Sophie

busy during daily walks.

199

Associate Professor: T.I.M.E.–Digital Arts

Having lived in both Tokyo and Germany, Kasumi

places a great value on experiencing other

cultures and seeing the world from their lens.

“The rhythm of the language is hugely influential;

each culture has different senses of timing and

aesthetics. And living in different countries gives

one a spectacular vantage point from which to

observe your own country,” she says.

Kasumi is a leader in the field of time-based art.

Her videos synthesize film, sound, literature, and

live performance; uniting each and weaving them

into a variety of combinations and configurations

through video technologies.

Her work has shown throughout the world from

Lincoln Center with The New York Philharmonic

to Guadalajara, Mexico and premiered closer

to home with the Cleveland Orchestra. This

experience seeps into the classroom as Kasumi

encourages students to master the latest tools and

techniques—actively putting theory into practice.

On creative

boundaries:

Make a strict set of

rules for each work and

follow it. It’s easier to be

creative if you have tight

boundaries.

On getting there:

Find the right medium

in which to work and to

hone your work; tighten

it to such a point that

it seems impossible to

have said it any other

way.

Kasumi


Dominic ScibiliaDepartment Head: Illustration

Professor: Illustration

Cleveland Institute of Art, BFA

Successful illustrations are the result of excellent

artistic skills, polished communications, and

seasoned problem-solving abilities. That is

why Dominic Scibilia builds into his curriculum

opportunities to develop each of those critical skills.

“The passion is the same as you’ll find with fine

artists; the commitment is the same. But the nature

of the work is different in that illustrators are given

problems to solve and they work collaboratively with

editors, publishers, art directors, designers, copy

writers, and others,” Scibilia says.

Scibilia began his career at CIA in 1980 after working

at American Greetings, E & R Graphics, and as

owner of his illustration studio, Art Plant Inc. His work

has been published in American Illustration and his

awards include the Advertising Club of New York

(Andy Award) and Art Directors Club of Cincinnati.

He continues to freelance for clients that include

Oberlin College and Cleveland Independents.

Scibilia’s recent NOISMaker award from the Northern

Ohio Illustrators Society confirms his deep roots in

Cleveland—roots that have sprouted extraordinary

real world experience for his students.

201

As lifelong 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


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 Center and Communication

Design students design participant t-shirts for the Cleveland Marathon. We’ve detailed a few of the many

partnerships from the recent 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 took her students to

the John G. White Collection of chess sets on permanent view at the Cleveland

Public Library. And each year she offered students the opportunity to take

what they’ve learned in her Foundation Design class and develop a unique

chess set of their own. They were required to create a set that included 32

figures, a playing board, and a game storage piece. Through her partnership

with the library, Professor Stanczak’s students were given display space in the

library to exhibit their final 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 of T.I.M.E.–Digital Arts,

partners his students with computer science students from Case Western Reserve University. Out of a

recent 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 the next fall 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.

205

Foundation

Petra Soesemann

Kim Bissett

Timothy Callaghan

Barbara Chira

Lane Cooper

Richard Fiorelli

Kidist Getachew

Sarah Kabot

Adam Kadar

Kevin Kautenburger

Jimmy Kuehnle

Scott Ligon

Steven McCallum

Thomas Nowacki

Lorri Ott

Sai Sinbondit

Mary Jo Toles

Charles Tucker

Royden Watson

Tommy White

Adri Wichert

Christian Wulffen

Liberal Arts

Mark Bassett

Charles Bergengren

Shelley Bloomfield

David Carrier

Diana Chou

Katherine Clark

Adina Davidson

Rita Goodman

David Hart

Joyce Kessler

Diane Lichtenstein

Olatubosun Ogunsanwo

Jonathan Rosati

Gary Sampson

Franny Taft

Dan Tranberg

Allen Zimmerman

General Studies

Kaja Tooming Buchanan

Kristin Thompson-Smith

Animation

Megan Ehrhart


Nicholas Economos

Knut Hybinette

Kasumi

Sarah Paul

Biomedical Art

Amanda Almon

Beth Halasz

Thomas Nowacki

Ross Papalardo

David Schumick

Ceramics

William Brouillard

Judith Salomon

Communication Design

Mari Hulick

Lizzy Lee

Eugene Pawlowski

Christopher Ramsay

Danielle Rini-Uva

CIA Faculty


Drawing

Sarah Kabot

John Powers

Royden Watson

Enamel

Gretchen Goss

Fiber + Material Studies

Christina Cassara

Bill Lorton

Game Design

Knut Hybinette


Nicholas Economos

Megan Ehrhart

Kasumi

Robert Kelemen

Sarah Paul

Glass

Brent Kee Young

Sungsoo Kim

Illustration

Dominic Scibilia

John Chuldenko

Robert Kelemen

Larry O’Neal

Industrial Design

Dan Cuffaro

Matt Beckwith

Carla Blackman

Ed Covert

Dennis Futo

Bob Martinez

Douglas Paige

Anthony Santarelli

Adrian Slattery

Interior Design

Michael Gollini

Sherri Appleton

George Gatta

Scott Richardson

Garrett Thompson

Laura Wolf

Jewelry + Metals

Kathy Buszkiewicz

Matthew Hollern

Painting

Lane Cooper

Saul Ostrow

Dan Tranberg

Tommy White

Photography

Barry Underwood

Matthew Fehrmann

Nancy McEntee

Mary Jo Toles

Michael Wallace

Printmaking

Maggie Denk-Leigh

Jen Craun

Sculpture

Charles Tucker

Kevin Kautenburger

Saul Ostrow

T.I.M.E.–Digital Arts

Megan Ehrhart


Nicholas Economos

Knut Hybinette

Kasumi

Robert Kelemen

Sarah Paul

Video

Barry Underwood


Nicholas Economos

Megan Ehrhart

Knut Hybinette

Kasumi

Robert Kelemen

Sarah Paul

207

Yes, it ’s true—the lives of artists and designers are amazing and our alumni

tell that story through their work and accomplishments. For nearly 130 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.

We also recently caught up with some alumni in their Cleveland, New York,

and California studios. Take a look at their videos and see how they’ve built

their creative careers at cia.edu/alumniprofiles.

CIA Alumni

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campus map

CIA1 Gund Building 2 McCullough Center 3 Taplin Hall

Resources4 CWRU Bookstore 5 Utrecht Art Store

Food6 Coffee House 7 Mamma Santa’s 8 Presti’s Bakery 9 Qdoba Mexican Grill 10 Chopstick Chinese Restaurant 11 Falafel Cafe

Culture12 Cleveland Botanical Garden 13 Cleveland Museum of Natural History 14 Severance Hall (Orchestra) 15 Cleveland Museum of Art 16 Cleveland Institute of Music

Nightlife17 Coventry 18 Little Italy 19 Downtown Cleveland

Parking

H Cleveland Clinic

+ University Hospitals

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cleveland + cia campus = your creative hub You are much more than an artist or designer. Maybe you’re a musician too,

or an athlete, or a political advocate. So as your classes help transform you

into the artist you want to become, you also need a community that supports

your growth as a person. Read on to get a feel for where you’ll live, learn, and

show off your work as a student at CIA.


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 and Museum. 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.

227

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 Medical

Center 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.

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 Progressive Art Collection, a surprisingly

extensive contemporary art collection supported

by the chairman of Progressive Insurance,

offers internships to our students and often

acquires their artwork.

231

A Personal Approach

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.

See for Yourself

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 ask questions or schedule a visit, call us at

1.800.223.4700, email [email protected], or

go to cia.edu/admissions.


Your Application Includes:

1. The application form (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.

If you want to compete for mid-year (spring

semester) scholarships, you must complete your

application no later than January 1.

233

We consider your portfolio to be an important asset

in the development of your career. It informs us of

your artistic experience, education, and talent. Our

Admissions Committee will evaluate your portfolio to

assess your technical abilities, conceptual problem-

solving skills, and use of your chosen media. 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

Before you apply, you can schedule an appointment

with one of our Admissions Counselors for a

preliminary portfolio review. An optional campus visit

and appointment with one of our counselors can

provide feedback on your current work and guide you

as you work toward your best possible portfolio.

A Complete Application

Your portfolio is one of several pieces that make up

a complete application for admission. Additional

requirements, including your academic credentials,

personal statement, and letter of recommendation,

will be considered when your application is complete.

Building Your Portfolio

Your portfolio must be submitted in CD or DVD

format, or if you wish to submit your portfolio

online, 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. 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, found-object pieces, computer-

generated works, illustrations, animations, and

clay, metal, or glass objects.

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


Determining a Sequence

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 cohesively.

Source Material

Make an effort not to include work copied from

photographs or other published works. These

generally do not make strong portfolio pieces. If you

use source photos, try not to use them as the sole

inspiration for your work.

CD or DVD

Label disc and sleeve 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

disc; 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

[email protected] or 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.

235

Financing Your Education

We work with you to craft a personalized financial

aid package that combines grants, scholarships,

loans, and work study. Sources of this funding

include CIA, federal, state, and private programs.

Once you have received an acceptance letter from

CIA you may be eligible for federal and state financial

aid 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• complete the 2012–13 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 matching funds through

the Yellow Ribbon Program. For details, contact

us or visit gibill.va.gov.

Determining Your Need-Based Eligibility

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.

Read more about this calculation on the next page.

Our review process for financial aid will begin once

we receive two important pieces of information:

• Your completed 2012–13 CIA Application for

Financial Aid, found under the Forms, Publications

and Links section of the Office of Financial Aid

website at cia.edu/financialaid

• FAFSA Results: the results of your 2012–13 Free

Application for Federal Student Aid (FAFSA),

a federally administered application found at

fafsa.gov. CIA’s FAFSA code is 003982. The

priority deadline to submit the FAFSA is no later

than March 1, 2012.

Through the FAFSA process you will be assigned

an expected financial contribution (EFC). Your EFC

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.


$31,760

2,122

6,516

4,838

45,236

2,050

2,050

47,286

Pe

r Y

ea

r

2011-12 Cost of Attendance

Tuition

Estimated fees

Room (On-Campus)

Board (On-Campus)

Direct Costs Subtotal

Books & Supplies (Estimate)

Indirect Costs Subtotal

Cost of Attendance Total

Transportation expenses can be included in your cost of attendance. We estimate the annual cost of travel to be up to $1,425 depending upon how far you live from CIA. Personal expenses (laundry, haircuts, cellphone service, medicine, toiletries, bedding, entertainment, electronics, etc) can also be included in the cost of attendance. The estimate of annual cost of personal expenses is up to $1,986. 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 up to $50,697.

The cost of attendance for 2012–13 will be available at cia.edu/financialaid as soon as tuition, fees, room, and board are officially approved by the Board of Trustees. 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.

is based on a standard formula established by

Congress and is used as a measure of your family’s

financial strength. Because your award is based on

your EFC and the date your FAFSA is processed,

it is important to complete the FAFSA as soon as

possible.

Putting Costs into Perspective Your Cost of Attendance (COA) 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 are considered indirect costs).

• Indirect costs are expenses not charged to

your CIA account, such as books and supplies,

transportation, personal items, and other

expenses. Indirect costs are considered part of

your overall cost of attendance (COA) budget to

determine financial aid eligibility.

Don’t be daunted by the size of your COA! You

can reduce these figures by combining multiple

sources of financial aid: scholarships, grants, work-

study, loans from federal, state, or private sources,

and scholarships and grants from CIA.

237

Resources for Tuition Support

Scholarships

Scholarships are a source of funding that do not

need to be repaid.

• CIA Merit Scholarships: Scholarships awarded

by CIA are restricted to tuition and do not need

to be repaid. They are awarded on the basis

of academic merit and the evaluation of your

portfolio. Your total amount of your CIA merit

scholarship, CIA departmental or honor awards,

CIA need-based grants, and any other source of

funding restricted to tuition cannot exceed the

amount of tuition each academic year.

You are automatically considered for CIA merit-

based scholarships when you apply for admission

to CIA.

There are no extra application procedures for

CIA merit-based scholarships. Many students

combine CIA merit-based scholarships with other

financial aid to reduce their cost of attendance.

CIA merit scholarships are renewable for up to

three additional years if you maintain the minimum

cumulative grade point average specified in

your scholarship award letter from the Office of

Admissions and enroll as a full-time student each

academic year.

• 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.

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.

CIA–funded financial aid is just one avenue of support that you can apply

to your overall tuition costs. You can pursue funding through private

scholarships, state and federally funded financial aid programs, and

private education loan programs. A brief discussion of each area is

contained below along with additional references where you can find

further explanation and opportunities.


• Federal Pell Grant: The government uses

your FAFSA to determine your eligibility

for this grant.

• 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 need-based grants to students with

exceptional talent, academics, and financial

need, based on information submitted to the

offices of Financial Aid and Admissions. Your

total amount of CIA grants, departmental or

merit-based CIA awards, and any other source

of funding restricted to tuition cannot exceed the

amount of tuition each academic year. You must

have a minimum 2.0 cumulative GPA for your grant

to be renewed.

• Ohio College Opportunity Grant (OCOG):

This grant is based on Ohio residency, first

college start date, enrollment status, an expected

family contribution calculated through the FAFSA

of less than or equal to $2,190, and a household

income no greater than $75,000. You must

complete the CIA Financial Aid application prior to

the start of your first year at CIA.

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 meet the on-time

priority deadline and demonstrate sufficient financial

need on the FAFSA each academic year. It is your

responsibility to apply for a designated work-study

job, which you can find posted on College Central,

the CIA Career Center’s online job board. Once you

have located a job opening, interviewed, and been

selected, you will work with the Office of Financial

Aid and your supervisor to complete the required

paperwork before you begin working.

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 education loans (also called

alternative loans).

When it comes to education loans, parent

PLUS loans and private student loans are often

the primary choices for additional financing options

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:

Parent Loan for Undergraduate Students (PLUS)

Loans are low-interest loans a parent borrows

to assist his or her 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 PLUS Loans is 7.9%.

For more information on PLUS Loans, go to

studentloans.gov and click the Direct Loans

overview under the Learn More tab.

• 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.

239

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 and

Learning Center, Career Services, and Gund Library

are just three of the many ways we supplement

learning and studio practices.

Writing and Learning Center

The Writing and Learning 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.

Throughout each semester you can participate

in scheduled tutorial hours or a rotating series of

small-group workshops on specific aspects of the

writing process. We welcome you to drop in at

any time during Center hours or you can make an

appointment to work with tutors in preparing your

academic 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

CIA alumni 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 tips on job

search strategies and networking. In addition, you’ll

keep your access to our online job board, College

Central, once you’ve graduated.

Gund 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 Gund

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).

The library supports CIA’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. Our 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, including 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.

241

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

242

243Color Photography: Robert Muller ’87 / Design: TWIST Creative, Inc. / Cover Art: Joseph Minek ’11

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M ajors :

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Ce ra m ic s

Com mu n icat ion D e s i g n

(G raph ic D e s i g n )

D raw i n g

E n a mel

F ib e r + M ate r i a l St ud ie s

G a me D e s i g n

Gl a s s

I l lu s t rat ion

I ndu s t r i a l D e s i g n

I nte r ior D e s i g n

Jewel r y + Met a l s

Pa i nt i n g

Photog raphy

P r i nt m a k i n g

S cu lpt u re

T. I . M . E .– D i g it a l A r t s

Vide o

ADDRESS SERVICE REQUESTED

TWIST CREATIVE

1985 West 28, Second Floor

Cleveland, OH 44113

NON-PROFIT ORG.U.S. POSTAGE

PAIDCLEVELAND, OHPERMIT NO. 3639

CLEVELAND INSTITuTE OF ART

11141 East Boulevard Cleveland OH 44106 USA cia.edu

M ajors :

A n i m at ion

B iome d ica l A r t

Ce ra m ic s

Com mu n icat ion D e s i g n

(G raph ic D e s i g n )

D raw i n g

E n a mel

F ib e r + M ate r i a l St ud ie s

G a me D e s i g n

Gl a s s

I l lu s t rat ion

I ndu s t r i a l D e s i g n

I nte r ior D e s i g n

Jewel r y + Met a l s

Pa i nt i n g

Photog raphy

P r i nt m a k i n g

S cu lpt u re

T. I . M . E .– D i g it a l A r t s

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Cleveland Institute of Art Senior Viewbook 2011

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