cia viewbook

makesomething

6 introduction 14 majors & programs

186 our faculty 204 cia alumni 218 campus map 222 student life 230 get started

242 index

230 Apply232 Your Portfolio 234 Financing Your Education236 Resources for Tuition Support238 Academic Services240 Next Steps

16 Foundation 24 Liberal Arts32 Animation40 Biomedical Art48 Ceramics56 Communication Design64 Drawing72 Enameling80 Fiber + Material Studies88 Game Design96 Glass

104 Illustration112 Industrial Design120 Interior Design128 Jewelry + Metals136 Painting144 Photography152 Printmaking160 Sculpture168 T.I .M.E .–Digital Arts176 Video

It’s all about your future and your art. You’re making decisions that will take you on a true adventure; one

that can lead you to a spectacular creative career. Getting there requires

a community—a creative community that is dedicated to turning your

artistic vision and thirst for creative expression into reality.

At the Cleveland Institute of Art we have a 128-year track record

for doing just that.

The Mission of the Cleveland Institute of Art : To nurture the intellectual, artistic and professional

development of students and community members through rigorous visual arts and design education.

6 cia.edu/admissions 7

CIA is dedicated to teaching artists and designers.

With 19 majors that encompass design, visual arts, craft, and integrated

media, we’ve built a hub of creative energy that can take you daily

into the studios and classrooms where you will learn, create, change,

and lead an artistic life.

CIA

Our resources are chosen for your success—inside and outside the

classroom. We bring in visiting artists that influence you, offer tools

that inspire innovation, and structure our environments for your

creative exploration.


B r i o n H a r d i n k ’ 10

CIA faculty are collaborators who reach across

disciplines to engage their students in new

techniques and the latest in technology and

to share the breadth of knowledge in other

majors. For example, if you choose to major

in Communication Design, you may apply your

graphic design skills to package design for our

Industrial Design students. Or, if you are a Glass

major, you may work with our Jewelry + Metals

majors to add a metalsmithing technique to your

projects. Learn more about our faculty, their

artwork and approach to classroom and studio

learning on page 186–203.

As a dedicated college of art and design, we

are focused on the ultimate goal of your future

career—making a living doing what you love to

do. Whether you dream of life as a studio artist

or see yourself in a design firm, our reputation

as an outstanding educator prompts many local

and national organizations to contact us with

internship and partnership opportunities. Each

major includes a focus on Professional Practices

and our Career Services department cultivates

internships and offers all the services necessary

to launch students into the professional world

of art and design. We also reach out to develop

relationships for CIA students who want to bring

classroom experience to life in the real world.

Located in the heart of Cleveland’s cultural district,

our campus offers the experience of a true artist’s

community. Our neighbors, collaborators, and

partners are on the creative edge of culture,

technology, and education—and so are we. At CIA

you’ll live in a mix of urban energy surrounded by

University Circle, a park-like setting that houses

the region’s most prestigious cultural, academic,

technology, and health care organizations.

Within two square miles are the world-renowned

Cleveland Museum of Art, Case Western Reserve

University, Cleveland Clinic, Cleveland Botanical

Garden, Cleveland Orchestra and dozens of

museums, galleries and ethnic neighborhoods.

Read more about our neighborhood and campus

life on pages 218–227.

If you like what you see and read, visit us. Walk

though our campus, see students working in

their own studio, talk with faculty, and share your

portfolio. Sign up for a fall or spring Open House

or tailor your own visit.

Contact us at 1.800.223.4700 to set up an

individualized visit, or sign up for one of our

Open Houses at cia.edu/openhouse.

A 9:1 student to faculty ratio

At CIA you have access to some of the most creative minds in art and

design—our faculty. With a 9:1 student to faculty ratio, our close-knit

community encourages collaboration. CIA faculty are practicing artists

who will mentor you and bring you into their network. They’re famous

for engaging students one-on-one, in hands-on studio practice and

dynamic classroom learning.


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.


The best education is collaborative, innovative and

imaginative—and is right here at CIA. Our curriculum

is based on a depth of learning in each major, combined

with breadth of knowledge in as many areas as we offer.

All first-year students begin with the Foundation curriculum, a yearlong intensive exploration of color, form,

design and creative problem solving. You’ll emerge from the first year on technically equal footing; ready to

concentrate on the study and practice of art and design. Liberal Arts classes weave throughout your four-

year curriculum, teaching you essential communications skills and a solid grounding in art history. In your

freshman year you’ll also take an Environmental Elective—a course that gives you an opportunity to learn

about multiple majors within a shared area of study known as an Environment: Design; Craft + Material

Culture; Visual Arts + Technologies; and Integrated Media. As your sophomore year begins, you will start

taking classes in your major—often chosen as a result of your freshman environmental elective experience.

In your senior year, you will work on a unique capstone experience—your BFA Exhibit. Not many art and

design colleges require this capstone experience, but we believe it is the most important moment in your

professional launch. BFAs take many forms, but are ultimately your gallery exhibit or design pitch. As a

BFA candidate you’ll create a body of work, present it to the CIA community and respond to their critique.

As part of this yearlong project, you’ll also develop an artist statement that explains and frames your vision.

You’ll present as a professional and are critiqued as a professional—with the focus on helping refine an

artistic path before you graduate.

majors & programs

CIA Environments:

Creative Design to Creative Education

One important thought to keep in mind as you

read through our majors: they are strategically

grouped around four core subject areas we call

Environments. The Environment structure is a

unique approach to teaching across majors—

a built-in system of shared resources that offers

a true interdisciplinary approach to art and design

education. Majors that are housed under one

Environment complement each other, offering

an opportunity to share resources and courses.

In addition, your exposure to each discipline in

an Environment will challenge you to think outside

your chosen major to ultimately enhance your

understanding of that major.

Master of Arts in Art Education

CIA’s 4+1 Program

If you’re interested in taking your art and design

talents into a classroom of your own as a K-12

art educator, our academic partnership with our

campus neighbor, Case Western Reserve University

can help you do that. The CIA/CWRU collaborative

program offers the required coursework that leads

to a Master’s degree and licensure in art education.

Once you earn your BFA from CIA, you can apply

to CWRU to become a licensed visual arts teacher

with only one additional year of study. In this

extra year you will have access to the resources

of a comprehensive university as you develop

essential leadership and teaching skills. Through

this program, many CIA students have gone on to

become committed, knowledgeable, and creative

professionals in art education.

Accreditation & Membership

The Cleveland Institute of Art is accredited by

the National Association of Schools of Art and

Design (NASAD), the North Central Association

of Colleges and Schools, and the State of Ohio.

Our Environments are:

Visual Arts + Technologies

Drawing, Fiber + Material Studies, Painting,

Printmaking, Sculpture

Design

Communication Design, Industrial Design,

Interior Design

Craft + Material Culture

Ceramics, Enameling, Glass, Jewelry + Metals

Integrated Media

Animation, Biomedical Art, Game Design,

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


CIA’s Foundation program will introduce you to the forms,

methods, media and concepts crucial to your future

academic and professional success. All first year students

take a full year of Foundation courses where they develop

and strengthen the fundamentals that support each year

of study throughout the Institute’s curriculum.

Be prepared for lively debates and the camaraderie

that develops as you and your peers work together

in studio. The Foundation experience fosters a

learning environment that is responsive to your

aspirations, as well as to innovations in the world

of art and design. We balance fundamental

approaches with experimentation to develop

your aesthetic sensibilities.

You’ll begin with core courses in drawing, design,

color and digital studies that introduce you to

color, composition, drawing principles and 2D

and 3D materials and processes. Digital courses

and fabrication safety labs build confidence in

your abilities to create. As you work on studio

projects you’ll investigate visual dynamics, creative

processes and issues that inform contemporary

art, design and culture.

We take full advantage of our amazing location

in the heart of Cleveland’s cultural district.

Our classes regularly travel across the street

to the permanent collections of the Cleveland

Museum of Art, through the rainforest of the

Cleveland Botanical Garden or the exhibits of

the Cleveland Museum of Natural History. With

Case Western Reserve University and University

Hospitals located a quick walk across Euclid

Avenue, we are able to tap into some of the

science and healthcare resources that boost

our curriculum.

To help guide the transition from Foundation

studies into the majors, you’ll also have the

opportunity to take an elective class in order

to explore various disciplines in the arts,

crafts and design areas. The elective provides

exposure to help you make an informed choice

about your major and your future career path.

Foundation

Courses:

• Digital Art and Design I & II • Drawing I & II • 2D Design • 3D Design • Design Woodshop Lab • Color

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

16 cia.edu/admissions

S te p h a n i e M o te ’ 1 218

J a c q u i e Ke n n e dy ’ 10 19

K r i s te n M a g e rk u r t h ’ 1 322

B r a n d o n P ro m e r s b e r g e r ’ 1 2 23

The Liberal Arts Environment cultivates the intellectual

development of our students as they move through each

of our degree programs.

Our Liberal Arts curriculum is designed to develop

your understanding of many cultures of our world—

both past and present—and discover the importance

of these ideas to the growth of your creative life.

Your four years at CIA include study in the humanities

and sciences. You’ll graduate with a breadth of

knowledge that is the hallmark of the baccalaureate

degree as you take courses in disciplines from art

history to philosophy to anthropology. A singular

feature of the Institute’s Liberal Arts curriculum is our

approach to studying a subject by connecting it to

other disciplines in our program. For example, in your

freshman year at CIA, you will read in your English

classes about ancient and medieval philosophy

and culture while also taking a course in Ancient

and Medieval History of Art. This carefully calibrated

educational experience creates a comprehensive

perspective on a subject that will give you a broad

sense of the trajectory of world history itself.

CIA puts creativity at its center, so our Liberal

Arts curriculum centers on the idea of culture as a

generator of creative ideas. Our students are makers

within their cultures and we have built our own Liberal

Arts curriculum around the creative core of their

learning. The reading and writing that we assign is

crucial to the development of your own artistic ideas.

In addition, as you complete rigorous assignments in

analytical essays and research papers, you’ll become

a strong writer, able to convey your point of view in

tandem with understanding diverse perspectives.

Liberal Arts

Courses:

Foundation Requirements:• Composition: Ideas in Cultural History • Research Methods and the Research Paper:

Ideas in Contemporary Culture• Topics in Design or Forms of Narration • Advanced Writing-intensive Electives • Art History: Ancient–18th Century:

Concepts, Themes and Methods• Critical Issues in Art and Design History:

18th Century–1945• Critical Issues in Art and Design History:

1945–Present• Post–1960s Art and Design Electives

Distributional Requirements: • Intro to African and African-American

Literature and Culture• Intro to Narrative Film • Women’s Words: Studies in the Literature

Written By Women• Avant Garde Film • Avant Garde Film: Montaged “Talkies” • Japanese Expressions • Culture/Conflict/Syncretism in African and

African-American Literature• Neo-Expressionism, Neo-Geo and Postmodernism • American Architecture and Interior Design • Advertising Images • Photo History I: Still and Moving Images:

The Beginning• Photo History II: Still and Moving Images Since 1900 • Folk Art, Minority Art and Outsider Art • The Art of Mesoamerica • Demystifying the Maya • Peru Before Pizzaro • Traditional Tribal Art • The Body: Tradition, Transformation, Transgression• Contemporary African and African-American

Literature• Design and Craft in Modern Culture • Ways of Thought: Hinduism and Buddhism • Ways of Thought: Confucianism, Taoism and Zen • Narrative Art and Mythic Patterns in African and

African-American Literature• Anthropology• Tribe vs. Nation: Political and Cultural Survival • India: Culture and Society• Human Antiquity • Media Arts and Visual Culture: Installation • Media Arts and Visual Culture: Interactive Zones

• Literature of the Americas • Creative Writing Workshop: Dialogue and Story • Fiction Writing • Creativity and Taoism • Art Writing • Film History and Theory: Documentary • Visual Culture and the Manufacture of Meaning • Basic Theories of Psychology • Survey of Contemporary Music and its Relation

to the Visual Arts• Sound Art and New Media • Issues in Design: Theory and Culture

of Design Screenwriting• Contemporary Art: Critical Directions • Visual Anthropology: Ethnographic Film Survey • Poetry Writing • African American Art • Modernism in Latin American Art • On the Same Page: Rhetoric, Design

and Writing in the Digital Age• Race and Representation • Graphic Narratives • Abnormal Psychology • Up Against the Wall: Writing the Revolution

in the American ‘60s• Science Fiction Writing Workshop • Exhibition Theory and the Culture of Display • Contemporary Art: Andy Warhol • Art of China • Legends and Kings: Structures and Uses

of the Narrative• John Cage: His Life, Work and Influence • Art Since Abstract Expressionism • Building Models: Artist, Art (and History)

in the Framework of Theory and Criticism• Naratology and Storytelling • Arts of East Asia • Writing Workshop: Personal Essay • Jazz: Contemporary African-American Writers • Critical Models • Who Owns Art? Issues of Asian Art Collecting • The History of Art History and its Philosophy • Chinese Poetry • Jung and Creativity • Censorship, Art and the Law • Sexuality and Popular Culture in America • Conceptual Art: History, Theory and

Contemporary Practices


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

Visual Culture Emphasis

This course of study will provide you with the skills

to articulate your understanding of theory and history

of visual culture and incorporate those perceptions

into your own studio work. In the Visual Culture

Emphasis you’ll study 18 credits of designated Liberal

Arts classes in addition to the Foundation Liberal Arts

requirements. You’ll become a stronger writer and

communicator as your studies help you reflect on

how art and design are informed by concept, theory,

and history. Areas of study include new media and

film; non-Western and folk art; contemporary issues

in art and design; art criticism; popular and mass

culture; philosophy and aesthetics; and critical

theory and methods of analysis.

Creative Writing Concentration

If you are an artist or designer who also has been

writing stories, graphic novels, and poems our

Creative Writing Concentration can keep you on

track to grow as a creative writer—while you become

a stronger visual communicator. Or if you plan a

career in illustration, graphic fiction, game design,

or film, and need the career advantage of excellent

writing skills, this Concentration allows you to work

on your writing while you pursue your studio degree.

The Creative Writing Concentration is comprised

of 12 total credit hours (4 courses), taken in the

Liberal Arts Environment. As a final requirement

of the Concentration you’ll create a body of

written work.

Whether you choose to pursue a graduate degree or work

within your major, having one of these endorsements on

your transcript illustrates your extensive training in writing

analytically about art and design, or writing creatively

about your own ideas.



C a rl P o p e Vi s it i n g A r t i s t 31

Courses:

• 2D/3D Compositing • 3D Modeling • Digital Art and Design I & II • Experimental Video • Introduction to 3D Animation • Introduction to Animation • Introduction to Media Production

and Integration• Motion Graphics • Narrative Production I & II • Narrative, Sequence and Storyboarding • Screenwriting • Sound Design • Texture and Lighting • Video I & II • Visual Organization and Media • Web Media Production • BFA Preparation • BFA Thesis and Exhibition

Freshman Environmental Elective• Integrated Media

Careers:

• Commercial animator • Fine artist/animator • Independent animator • Conceptual animation • Educational animation • Graduate study/higher-level

professional training• Rigger • Character designer • Layout artist • Animator • Character animator • Effects (FX) artist/FX animator • Compositor • Production designer • Visual effects supervisor • Animation director • Art director • Storyboard artist • Modeling supervisor

As a student in CIA’s Animation major you’ll harness traditional and digital

technologies to create narrative and experimental animation that brings both

characters and environments to life. Through coursework that integrates

both fine art and the latest industry production techniques, you will develop

the skills necessary to excel in an animation career.

Our faculty will keep you on the cutting edge as you

work with innovative production technologies in 2D and

3D digital media and animation, film, video production

and stop-motion animation. You’ll intensify your skills in

character and set construction through a broad scope

of tactile sculpture media. Enhance your character

design as you study the development of personality

in motion, lighting for small scale of digital environments

and sound related to motion and sync. Our Animation

curriculum focuses on sequential narrative storytelling,

conceptual development, methods of animation (2D,

3D, hand-drawn, stop motion, composite) framing and

staging, storyboarding, animatics, layers and motion

and figure studies.

As an Animation student, you’ll build a strong

foundation in the digital arts while understanding that

technology is the means, not the end. For that reason,

your coursework will also focus on the relationship

between art, design and technology. You’ll also

develop an understanding of historical, cultural and

social framework of animation and digital arts.

We know that your major requires extensive

technology use, so you’ll have access to more than

just our state-of-the-art computer labs. With your

ID card you can check out the latest equipment for

digital video, lighting and sound. And your projects

will look professionally produced with the help of

a motion capture system, a green-screen Chroma

Key studio area, two separate lighting and shooting

spaces and a sound recording studio.

Career success in Animation is also built on

developing real-world experience and strengthening

your communications skills. Each year you’ll have

several opportunities to show your work—to the

CIA community and to industry and fine arts

professionals. In the fall we hold E.M.I.T. Film, Video

and Animation Festival, which features students’

films, videos and animations; in the winter students

enter the juried Student Independent Exhibition held

in the school’s Reinberger Galleries; and all students

exhibit during our annual Spring Show. In addition,

we strongly emphasize presentation and public

speaking skills that prepare you for pitching your

ideas and directing a team.

Animation

32 L au re n H e m p h i l l ’ 0 8 33

D av i d H o u r y ’ 0734

C h a d d S a n d ’ 0 8 35

T i m E l e k ’ 0 436

L au re n H e m p h i l l ’ 10 39

Biomedical Art majors combine artistic talent,

natural science and biomedical intellect with strong

visual communication skills. As a biomedical artist

you will apply your knowledge of media art and

science to visual materials that educate those

interested in science and medical information.

Built on the traditional field of scientific and medical

illustration, CIA’s Biomedical Art curriculum also

establishes skills in leading-edge digital media

techniques, interactivity and animation. Our

program incorporates innovative concepts and

media through the intersection of art, science and

medicine. You’ll learn a versatile set of illustration,

information design, 3D modeling and animation

techniques through both traditional and digital

methods. We’ve designed a curriculum that offers

a lot of flexibility that allows you to take courses

in computer imaging and animation, instructional

design and multimedia, medical sculpture, surgical

and natural science and editorial illustration. And

to add a layer of polish, you’ll develop applied skills

in business and professional practices.

You’ll learn from outstanding faculty whose

training and access to real-world experiences are

unmatched. Each of CIA’s Biomedical Art faculty

are CMI certified—which means you’re learning

from highly-trained professors who are accredited

as Certified Medical Illustrators. Faculty have also

taken advantage of our extraordinary location at

the heart of the region’s leading medical, scientific

and cultural communities to build professional

partnerships with the area’s major medical and

educational resources, including Case Western

Reserve University, University Hospitals Case

Medical Center and the Cleveland Clinic, as well

as the Cleveland Museum of Natural History and

Cleveland Botanical Garden. As a student in the

Biomedical Art program you will benefit from these

partnerships through many real-world experiences

that include projects in medical illustration and

exhibition opportunities.

As a Biomedical Art student at CIA you will

have your own studio space in addition to cutting-

edge digital technologies and high-end computer

resources. The program offers you access to

motion capture technology, 3D modeling tools,

a medical sculpture lab and a suite of other labs

with access to the newest software and tools.

Biomedical Art

Courses:

• Visual Organization and Media• Narrative, Sequence and Storyboarding• Web Presence and Practice• Anatomy for the Artist• Natural Science and Zoological Illustration• Human Forms: Heads, Hands and Feet• Line: Information Visualization• Digital Color: Style and Representation

in Science• 3D Bioforms: Media in Motion• Veterinary Illustration• Interactive Narratives in Biomedical Art• 2D/3D Modeling for Illustration• 3D Textures, Mapping, Digital Lighting

and Rendering• Forensic Modeling and Reconstruction• 2D/3D Compositing• Bioart Ethic and Image Interaction• Macro to Micro Simulation and Story• Visual Mechanisms and Actions• Surgical Narratives in Science and Medicine• BFA Thesis Research• BFA Thesis and Exhibition• Principles of Biology• Comparative Vertebrate Anatomy• Anatomy and Physiology I & II• Microbiology, Embryology or Histology

Freshman Environmental Elective• Integrated Media

Careers:

Graduates in Biomedical Art work within many

broad areas of natural science and medical

industries, educational design, 2D and 3D

instructional animations and video, medical and

scientific textbooks, biomedical advertisements,

serious/educational gaming, professional journals,

educational CD-ROMs, DVDs, web media and

films. Biomedical artists also work within the

following career areas: pharmaceutical, medical

device, veterinary markets, hospitals, universities,

government agencies, medical legal and forensics,

to name but a few.

As one of the few undergraduate programs of its kind

in the country, CIA’s Biomedical Art program is a unique

area of study in a growing field of applied art, science

and technology.


H a n n a h W i l h e l m ’ 0 942

E l l e n H ow at ’ 1 244

A l e x i s H i p p l e r ’ 10 45

Je s s i e S a n ’ 1 146

We n dy K n a p p ’ 1 1 47

At CIA we build on the age-old medium of ceramic art

by teaching both the science and the art of its two major

traditions: works of sculpture and works of utility.

We expose students to the rich history of the medium

while exploring clay’s contemporary potential as

a vehicle for the expression of ideas.

As a student in CIA’s Ceramics major you will

create in nearly every aspect of ceramic work.

Your coursework will include handbuilding and

work on the pottery wheel, glaze making, glazing

techniques and loading and firing gas and electric

kilns. Explore ceramic materials in two and three

dimensions through the use of mold work and

multiples in sculpture, studio pottery and ceramic

design. Expand your creativity as you develop

fabrication techniques including press molding,

drain casting, solid casting, casting body

formulation, slip preparation and use, glazing

and surfacing.

Our Ceramics faculty run an interactive open

studio environment that encourages collaboration

and communication between students, peers and

instructors. You’ll share responsibilities for firing,

glaze making and studio upkeep. Once you join

us, you’ll also participate in group reviews and learn

of exhibition opportunities and how to collaborate

with your fellow students.

You’ll work in a completely renovated, sky-lit ceramics

studio space with floor-to-ceiling windows, well-lit

individual studio spaces, large common workspaces

and glazing areas. We are one of the few Ceramics

departments in the U.S. to have a digitally controlled

gas kiln by Blaauw—fully automated and capable

of any firing cycle, oxidation, or reduction. There are

specialized spaces for clay making, glaze making

and testing, plaster working and a large kiln room

complete with three large gas kilns, eight electric

kilns and a raku kiln. Students fire work from six

inches to five feet in height.

Ceramics

Courses:

• Creative Process and Materials Studies• Language and Materials• Craft + Material Culture Core Studios• Image, Pattern and Surface in Clay• The Potter’s Wheel• Intro to 3D Plastic Media• Major Day: Special Projects• Advanced Handbuilding• The Alchemy of Fire and Clay• Sculpture in Clay• The Narrative Vessel:

Basic Ceramic Fabrication• Majolica, The Painted Pot• Raw Materials• Architecture-based Ceramics

and Special Projects• Nature and Structure• Table for Two: The Evolving Rituals

of Food, Utility and Community• The Vessel and Utility• Surface and Content• BFA Statement and Exhibition

Freshman Environmental Elective• Craft + Material Culture

Careers:

Our Ceramics alumni go on to successful

careers as studio artists or designers,

exhibiting in national and international

galleries and museums. Some graduates

become art consultants and conservators

while others go on to graduate school

and into teaching.


A n to n i a C a m p a n e l l a ’ 1050

B r i a n S a r a m a ’ 0 9 51

M e l i s s a H o r n e r ’ 1052

S te p h a n i e P e i g ow s k i ’ 0 9 53

Yu m i ko G o to ’ 0 4 55

Courses:

• Design for Communication I & II• Typography I & II• Intro Photography• Advanced Design Studio• Production• Graphics for Design• Graphic User Interface I & II• Information Architecture• The Handmade Book• Advertising Art Direction• Contemporary Design Studio• Publication Design• Limited Edition Portfolio Production• Visualizing Information• CIA Design Factory• Bachelor of Fine Arts Thesis• Bachelor of Fine Arts Seminar

Freshman Environmental Elective• Design

Careers:

Our program’s high placement rate is evidence

that our graduates are in high demand.

Communication designers now lead teams

investigating journalism, building identity and

branding and organizing complex information

systems. Communication Design graduates from

CIA work in all aspects of the industry including:

• Book and publication design • Advertising • Web and interactive design • Package and 3D design • Exhibition design • Film and broadcasting design

Communication Design at CIA takes into account the

dramatic changes transforming the graphic design industry

and the importance of clear visual communication. As our

methods of communication become increasingly mobile,

we rely even more on the art of design to communicate

in creative and engaging ways.

Communication Design

In CIA’s Communication Design major you’ll explore

both the innovative and traditional methods of

communication design including typography, print

and web design, package design and signage.

We’ll introduce you to the forms, methods, media

and concepts crucial to creative development,

self-expression and effective visual communication

and production.

While we rely on the latest technology to build

technical skills, our curriculum offers you the

opportunity to explore and grow beyond these

technologies. Your study will range from editorial

and publication design, to the study of event and

exhibition design, design for print, marketing

and advertising, production and interactive and

motion graphics. And you’ll execute your designs

using traditional media as well as contemporary

and experimental media. As you move through

the curriculum you will also build valuable

communication skills and develop techniques

for presenting your ideas and final projects.

Our faculty of practicing designers have created

a working environment at CIA that resembles

a professional communication design studio.

Our new studio includes wireless Internet access,

wireless printing and a full construction area. We

have led a successful pilot laptop program and

negotiated discount prices for Adobe software and

professional-grade Macintosh laptops. As a student

in the Communication Design program you’ll have

complete access to a computer lab, print output

center, presentation areas, woodshop and the metal

shop. And as part of the Design Environment, you’ll

have opportunities to work across the environment’s

disciplines and collaborate with our Industrial Design

and Interior Design students on projects and in

the classroom.


N i c k A d o r n i ’ 0 9

T B D T re vo r M a r z e l l a ’ 1058

Je s s i c a O b a n d o ’ 1 160

K at i e P a rl a n d ’ 1062

K a r a M a s o n ’ 0 9 63

Drawing today is one of the most creative and dynamic majors available

in the field of art. It encompasses a wide range of forms and approaches

including working on paper in various mediums, to installation, collage,

zines and graphic novels.

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

traditional and non-traditional materials as well

as unconventional tools to define your aesthetic

identity, as well as challenge your artistic vision

and resourcefulness.

The Drawing curriculum contains several phases

and begins with the investigation of the field and its

historical framework. You’ll be introduced to individual

studio practice—forming a research process and

the development of source material. You’ll master

a visual vocabulary that includes scale, proportion,

perspective, composition, line, mass and modeling

while exploring traditional and non-traditional tools,

materials and techniques. Then we’ll begin to

focus on communication through drawing, which

includes drawing from observation, ideation and

experimental processes.

Next you’ll focus on style and aesthetics and parallel

theories to your own body of work. And you’ll begin

to understand drawing in the cultural frameworks of

pop and common and high culture. In your final thesis

project you’ll work through a comprehensive design

and art process: interest (ideas) research, ideation,

experimentation, evaluation, reflection and refinement

and production.

As part of the Visual Arts + Technologies Environment,

Drawing students share in an integrated curriculum that

will give you a broad knowledge in the visual arts while

strengthening your in-depth conceptual knowledge

of the drawing discipline. Your coursework and studio

practice will be enriched as you pursue collaborations

and shared coursework in the other disciplines that

make up the VAT Environment: Printmaking, Painting,

Fiber + Material Studies and Sculpture. You’ll receive

a wide range of support beginning with a faculty of

professionals with diverse approaches to art-making.

In our professional practices program you’ll develop

small business knowledge that will empower you to

set up your professional studio. You’ll be tutored in

creating your professional portfolio and developing

grant-writing skills. And you’ll learn about the

appropriate communications skills and proper

etiquette necessary for successfully approaching

dealers, curators and collectors.

In addition, you’ll have access to the VAT Environment

artist-in-residence, who is an artist working at the top

of his or her field. This artist teaches regular courses

in the environment as well as working individually with

students. The Drawing department also invites visiting

artists to give lectures and meet with students one

Drawing

Courses:

• Image and Form I: Visual Literacy • Image and Form II: Reproducibility • Aesthetics, Style and Content • Subject, Content and Form • Artist as Producer • Art in the Global Context • Intro to Advanced Observation,

Illusionism and Conceptualization• Drawing Beyond Observation• Major Day: Process and Method • Major Day: Style Context • Drawing as Image, Process and Plan • Figure Drawing • Experiments in Drawing • Drawing Images: Series, Episodes

and Time• 3D Drawing: The Psychology of Space• Hybrid Approaches to Drawing and

Painting: Digital Media• Moving the Line: The Artist as Animator • BFA Statement and Exhibition

Freshman Environmental Elective: • Visual Arts + Technologies

Careers:

CIA’s Drawing major prepares students

for a career as a professional working

artist. Our graduates have gone on to

work as:

• Illustrators • Studio artists • Graphic novelists • Zine authors • Educators • Gallerists

on one. In the spring you have an opportunity to

travel to New York during an annual trip, sponsored

by the VAT Environment, where you’ll experience

firsthand professional galleries and exhibitions such

as the Whitney Biennial and the Armory Show.

Drawing students have generous individual studio

spaces, a well-equipped workshop and excellent

critique space, all within the sky-lit, factory loft space

of the Joseph McCullough Center for the Visual

Arts. The Drawing curriculum culminates with a BFA

exhibition that consists not only of presenting a body

of self-initiated work, but also an oral defense and a

written artist statement. The BFA degree will prepare

you for a career in the visual arts as a professional

artist. While many of our graduates go on to earn

their MFA degrees at pre-eminent graduate programs

to deepen their knowledge of their own practice or

become curator, critic and art administrator, or art

teacher on the K-12 or college level, others follow

entrepreneurial paths pursuing successful careers

as illustrators, designers, creative directors, graphic

novelists, zine authors, set designers, etc.


T i n a D uj m ov i c ’ 10

N i c h o l a s G u l a n ’ 0 966

A n d re w R au s c h e n b e r g e r ’ 10 67

M i c h a e l M a rk s ’ 0768

A l e x a n d e r M o r s c h ’ 1070

D a r i u s S te w a r d ’ 0 8 71

Courses:

• Creative Process and Materials Studies• Language and Materials• Craft + Material Culture Core Studios• Image, Surface, Relief• Advanced Projects• Major Day: Advanced Topics• 3D Forms in Enameling• The Printed Image in Enamel• Multiples in Enamel: Limited Edition,

Production and Series • Enamel in the Public Realm• BFA Statement and Exhibition

Freshman Environmental Elective: • Craft + Material Culture

Careers:

As an Enameling major you’ll receive

guidance in discovering a career and

in learning the basics of working as

a self-supporting artist or craftsperson.

While some of our graduates work in

private studios making exhibition pieces,

producing commissioned work and

creating work for gallery and retail outlets,

others have gone on to graduate school,

teaching paths and careers in the

design industry.

The Institute’s focus on enamel is unique among the

nation’s art schools—in the history of twentieth-century

enameling , Cleveland has emerged as a center in the

development of the art form. Noted enamellists from

Cleveland have led the field, developing technology and

publishing numerous books advancing the discipline.

As a result, Enameling majors at The Cleveland Institute

of Art enjoy strong support from both the industry and

patrons devoted to the medium.

Our Enameling curriculum introduces you to a

set of highly technical skills used for centuries

and contemporary techniques of direct painting

and drawing of glass onto metal. We encourage

our students to experiment with the medium.

As a result, the Institute’s Enameling students

are known as innovators who create using

diverse methods, styles and inspirations.

The enamel studio is equipped to support

traditional and contemporary techniques and to

promote your exploration and experimentation.

In addition to offering generous studio space to

students who major in Enameling, our department

provides the fullest range of equipment for the

pursuit of work in any direction within the field.

You’ll also have access to industrial scale

facilities and materials.

The scale of student work in any year may

range from minute to architectural. Both two

and three dimensions are explored and work

may be functional and decorative or conceptual

and content driven. Your fellow Enameling

majors will include artists interested in making

jewelry and objects as well as those interested

in discovering enamel’s potential in other art

forms. Through continual experience and

exposure to the material, you’ll gain confidence

to make innovative advances in technique

and personal expression.

Enameling

72 cia.edu/admissions C l a i re B e au fo r t ’ 07 73

M a r y S av a g e ’ 0 474

K a l e y T u r n e r ’ 1 1 75

A my G re e n ’ 1 176

L i z a R i f k i n ’ 10 77

J a c q u i e Ke n n e dy ’ 10 79

CIA’s Fiber + Material Studies major

is consistently at the forefront of

innovation, challenging expectations

and moving beyond the ordinary. In this

major you’ll explore materiality through

work that ranges from performance and

installation to object-based work.

Courses:

• Image and Form: Visual Literacy• Image and Form II: Reproducibility• Aesthetics, Style and Content• Subject, Content and Form• Artist as Producer• Art in the Global Context• Repeat Pattern Design• The Extended Body: Costume, Prosthetics

and Extensions• Intro Fiber: String, Felt, Thread and Ideas• Silkscreen• Weaving Patterns: Collective Activity• Fashion: Soft Architecture for the Body• Fiber Seminar: Topics in Contemporary

Art/Culture• Material Matters• Custom Micro-Computing: Smart Objects,

Electric Handicrafts and Responsive

Environments • Creative Resistance: Performance

and Media Installation• Installation: The Empire of the Senses• Performance Art: Intervention and Spectacle• The Artist and Social Practice• BFA Statement and Exhibition


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


N i c o l e Nyd z a ’ 0 982

Iv y G a r r i g a n ’ 1 1 83

A l e x a n d r a S n owd e n ’ 1 184

Ju l i a C h e p ke ’ 10 85

B r it t a ny Ru c c e l l a ’ 0786

D a n a H a r dy ’ 0 6 87

Courses:

• 2D/3D Compositing • Digital Art and Design I & II • Digital Texture and 3D Modeling • Game Media Production I, II, III & IV• Introduction to 3D Animation • Introduction to Animation • Introduction to Game Design • Introduction to Media Production and Integration• Level Design • Lighting • Narrative, Sequence and Storyboarding • Screenwriting • Sound Design • Video I • Visual Organization and Media • BFA Preparation • BFA Thesis and Exhibition

Freshman Environmental Elective: • Interactive Media

Careers:

• Commercial game designer • Fine artist game designer • Independent game designer (freelance) • Graduate study• Higher level professional training

You’ll also be prepared to work

in positions which include: • Modeler, programmer, game designer

and game writer • Audio production, rigger • Character designer • Layout artists • Animator, character animator, effects (FX)

artist/FX animator • Production designer • Visual effects (VFX) supervisor • Art director, concept artist, character

designer, environments designer • Storyboard artist

In CIA’s Game Design major you’ll develop incredible

game experiences and build the foundation for a career

in game design and art- and media-related industries.

Game Design Our students work with innovative production

processes including 3D modeling, animation,

programming, visual design, audio, interactive

storytelling and game production, as well as

theory, criticism and context of video game culture

and digital media. While creating interesting and

usable content, you’ll build character development

skills through coursework that analyzes and

synthesizes physical, cognitive, cultural and

political aspects of human interaction.

Master the use of rule design, play mechanics and

social game interaction while you integrate visual,

audio, tactile and textual elements into a total

game experience. Create linear media by applying

post-production techniques. As a Game Design

major at CIA you will be able to create 3D modeling

digital visualizations that use processing, organic

and inorganic modeling, construction of compound

objects, 3D primitive construction and modeling and

resolution and tessellation of 3D objects and formats.

Collaboration and team projects are a vital part of the

studio experience at CIA. As part of our Integrated

Media Environment, Game Design students join

our community of digital arts students. You’ll take

core required courses with students from other

majors in the Environment and regularly exchange

a variety of differing perspectives, various forms

of communication and awareness of multiple

disciplines. These experiences build team skills

needed for collaborative brainstorming, character

design, narrative ideas, production and presenting

and critiquing project outcomes. In some of the

team production courses in this major, you’ll learn

more about programming by working with computer

science students from Case Western Reserve

University’s School of Engineering. We know that

your major requires extensive technology use, so

you’ll have access to more than just our state-of-the-

art computer labs. With your ID card you can check

out the latest equipment for digital video, lighting

and sound. You can work in a network-connected

video-editing suite, a sound editing and recording

facility, two shooting spaces with studio lighting

capabilities—one studio has a green Chroma Key,

a black screen and a gray screen which provide

support for professional studio production. And your

projects will look professionally produced with the

help of a green-screen Chroma Key studio area,

two separate lighting and shooting spaces and a

sound recording studio. Faculty who have proven

success in digital media and game design will be

your instructors and advisors who will also help

connect you with their network of professionals

in game design.

Career success in Game Design is also built on

developing real-world experience and strengthening

communications skills. Each year you’ll have



professionals. In the fall we hold E.M.I.T. Film, Video

and Animation Festival, which features students’

films, videos and animations; in the winter students

enter the juried Student Independent Exhibition

held in the school’s Reinberger Galleries; and all

students exhibit during our Spring Show. In addition,

we strongly emphasize presentation skills such as

writing, storyboarding, cinematic skills, motion and

directing, necessary for successful time-based work.

You’ll also learn to do advanced research in general

media effects, game-specific research and player-

focused research.


A n d re w Ku h a r ’ 10

C le ve l a n d I n s t it ute o f A r t + C a s e We s te r n Re s e r ve Un ive r s it y

1 3 var i o u s ar t i s t s , p ro g r am m e r s an d mu s i c ian s

91

J i m W i s e r ’ 10 93


J i m W i s e r ’ 10 95

Glass has enjoyed an exciting history as a field of art and craft. Prior to the

early 1960s, designers worked separate from the teams of craftsmen who

would actually produce glass objects in factories. The 1960s saw development

of the studio glass movement, in which individual artists and craftsmen

bridged the gap from making one-of-a-kind sculpture to creating handmade

functional glass objects, melding personal expression with the business

of being a viable working artist.

Courses:

• Creative Process and Materials Studies• Language and Materials• Craft + Material Culture Core Studios• Glass Fundamentals• Introduction to Fusion Concepts• Casting/Fusing Kiln Work• Hot Sculpting• Concept, Theory and Practice• Major Day• BFA Thesis and Exhibition

Freshman Environmental Elective: • Craft + Material Culture

Careers:

Our aim is for each student to become a

practitioner in the medium. Graduates often

enter positions with other artists/craftsmen,

schools and workshops, apprenticeships

and internships and are highly competitive

when applying for graduate study. Students

from our program have become leaders in

the field as teachers in university programs,

practicing designers and of course,

artists/craftsmen.

Glass

In the last half century, there has been exponential

growth in private artist/owner-operated studios,

community-access studios and programs in

universities—from virtually none to more than

several thousand worldwide.

As a student in the Glass department, your basic

training will center around three processes: working

hot glass (glass blowing and off hand, molten glass

processes), working glass cold (cutting, fabricating,

grinding, sandblasting and polishing) and fusion

processes (casting, slumping and bending).

In your introductory classes you’ll survey all basic

methods. You’ll work with technique and concepts

in your intermediate glass classes. As you move

into higher-level courses, you’ll take on independent

study and research that is individually tailored to

your developing voice.

Glass professors at CIA have devoted their lives

to a study and practice of working with glass.

While working in traditional methods of design and

craftsmanship they also experiment with new forms

of expression. This commitment to the art form has

earned them national and international recognition

as leading contributors to the medium. We have one

of the best-equipped undergraduate glass studios

in the country. As a Glass major, you’ll have your

own individual studio space in the department.

Developing a sense of community and collaboration

is an important aspect of the program, which is why

you will also work with students studying ceramics.

Our student-run facility promotes teamwork

and teaches the responsibilities of everyday glass

studio operation. The well-ventilated, three-station

hot glass area features furnaces for melting both

clear and colored glasses, benches and tools

for working hot glass and large annealing ovens.

An adjacent area holds more computer-controlled

ovens for casting, slumping and special forming

projects. The cold glass facility is equally well

furnished with great lighting, diamond saws,

lapping wheels, German and Czech engraving/

cutting lathes, polishing lathes and assorted hand

tools for grinding and polishing. Lampworking

also has a designated space to complement the

other complex glass-working processes.


A d a m H o l t z i n g e r ’ 0 2

A d a m H o l t z i n g e r ’ 0 298

B r a d P e a rc e ’ 0 9 99

M i ke H r i c ’ 07100

L au r a Ju rk i e w i c z ’ 10 101

S l ate G rove ’ 0 6 103

Courses:

• Visual Organization and Media• Narrative, Sequence and Storyboarding• Web Presence and Practice• Fundamentals of Illustration• Layout Rendering Techniques• Principles of Illustration• Character Design and Development• Illustration for Publication• Professional Standards in Illustration• Graphic Novels and Sequential Art• Community Projects: Illustration and

Production Workshop• BFA Preparation• Advanced Illustration: Studio Projects• Illustration Portfolio/Visual Essay• BFA Thesis and Exhibition

Freshman Environmental Elective: • Interactive Media

Careers:

Our graduates typically find career

success and professional fulfillment

in book illustration, editorial and

magazine illustration, game character

design, character development,

animation, advertising illustration

and graphic novels.

Through our courses and faculty, we nurture original

thinking and the ability to formulate and express

clear, relevant concepts. Working in a wide variety

of applications—from sequential storytelling to

advertising to editorial and print illustration—you’ll

address the visual transmission of meaning and

discover the intellectual rewards in the images you

create. We will challenge you to master the technical

skills required by a wide range of materials and

techniques—from the traditional media of pencils,

acrylics, oils and inks, to contemporary collage,

photographic and digital processes.

CIA’s Illustration studies cover some diverse areas:

presenting ideas, conveying emotions, illuminating

text and creating narrative without text. Problem

solving remains a core objective for the illustrator.

A solution to any problem must be rooted in the

deepest respect for the meaning of your activities

and the potential impact of your work on the

immediate and greater culture.

Most importantly, we encourage students to develop

a professional approach to their work. You’ll draw

inspiration from field trips to professional art studios

and advertising agencies, as well as from interaction

with a steady flow of visiting artists. At the end of

each year employers, illustrators and designers

are invited to the Institute to review portfolios and

share experiences with students.

CIA’s Illustration major focuses on building your ability to

translate thematic vocabulary into inventive visual solutions.

You’ll learn how to envision thoughts, conceptualize ideas and

express these ideas through imagery. We focus on educating

our students to communicate by creatively manipulating

image and text within analog and digital environments..

Illustration


C a ro ly n S h a n k ’ 1 1106

To r i a n n a B e ko s c ke ’ 10 107

A d a m Ro u s h ’ 10 109

J a c k S to r i e ’ 1 1110

D av i d S l a d e k ’ 10 111

Consistently ranked as one of the

top programs in the country, CIA’s

Industrial Design major produces

graduates who are working at the

top of the field, solving real-world

problems and becoming successful

entrepreneurs.

Courses:

• Marketing and Design• Ergonomics• Materials and Processes• Graphics for Design• Industrial Design 1.1, 1.2, 2.1, 2.2 & 3.1• Communication Skills 1.1 & 1.2• Transportation• ID Modeling 1.1, 1.2, 2.1 & 2.2• BFA Thesis and Exhibition• Design Center-Based Learning

Freshman Environmental Elective:• Design

Careers:

Our high rate of employment is evidence

that our graduates are in high demand.

Many of our graduates work for product

manufacturing/marketing firms (Honda,

Nike, Fisher Price), consulting firms

(IDEO, Continuum, Astro) or become

entrepreneurs (starting consulting firms).

Because of their innovative thinking, work

ethic and solid training, many become

leaders in the field, practicing in some

of the world’s top product development

studios designing automobiles, consumer

products, medical products, furniture

and toys.

CIA’s Industrial Design program is rooted in a

rigorous curriculum where each project is centered

on research, conceptualization and refinement.

Our approach builds a strong understanding of the

profession: the innovation process, users, market

forces, manufacturing, sustainability and business

practices. As an Industrial Design student you’ll

develop drawing, modeling and computer-assisted

design skills, which are critical to developing and

communicating ideas. As you progressively move

through fundamental concepts, we make sure to

balance the development of critical knowledge and

skills with your individual areas of interest.

Our faculty teach methods that are solution-driven in

a collaborative and energetic classroom environment.

You’ll understand problems and opportunities, broadly

explore concepts and critically evaluate and refine

solutions. As an Industrial Design student at CIA,

you’ll develop skills in visual communication, form

development and presentation and build knowledge

of manufacturing, ergonomics and marketing.

Each spring, you will participate in a truly dynamic

recruitment opportunity: the Spring Design Show.

Through this show, many of our students complete

two internships, allowing them to refine their skills,

get firsthand exposure to industry practices and

network with professional designers.

Collaboration is an integral part of our curriculum

and Industrial Design students often collaborate

with other CIA programs, other colleges and

businesses. Several international companies work

with us in a program that exposes our students

to real-world challenges. They help students

bring ideas to production, and provide valuable

experience, exposure and potential income.

The Industrial Design program has built an

environment based on a professional industrial

design studio. Classes take place in an open

studio comprised of individual student studios

and collaboration spaces. All students have easy

access to cutting-edge computer technology,

shop facilities, presentation rooms, project

rooms and rapid prototyping.

Industrial Design


Ry a n M a i b a c h ’ 0 9

113

Ju s t i n C u m m i n g ’ 0 9 Z a c k S i m m e r i n g ’ 0 5

R e b e c c a B i b l e ’ 0 9114

K at i e G e i g e l ’ 10 115

B r y a n Jo h n s o n ’ 0 4116

Q u a n Z h o u ’ 0 9 117

Jo s h G re i n e r ’ 0 9118

In CIA’s Interior Design program, we emphasize

commercial, retail, architectural, functional and spatial

design, rather than residential design. Our curriculum

develops design processes, sensitivity and knowledge

of material specification and ethical problem solving.

Our hands-on approach to teaching encourages

collaboration with local design firms that bring you

real-world experience. Through these partnerships,

you can take on exciting assignments, which may

include designing restaurants, health care centers,

car dealerships, museum space, or exhibition and

showroom space. These practical experiences

are the most powerful ways to discover industry

expectations, acquire an understanding of

designer–client relations and gain professional

self-confidence.

Communications skills are central to a successful

career in Interior Design. That’s why CIA’s

Interior Design program weaves opportunities for

developing strong communication skills into each

aspect of our curriculum. Classroom critiques and

professional client presentations will refine your

verbal skills and ultimately pay off in the form of

solid client-relations skills.

Presentation methods, such as drawing, rendering,

CAD technologies and 3D modeling are a few of

the studio tools you will learn. You can also expect

to research projects and develop a sound basis

for your concepts and solutions. Throughout your

major study, you will also attend lectures and

symposiums sponsored by industry leaders and

noted award-winning designers and design firms.

Leading manufacturers of furniture and materials

contribute to our studio environment through

materials workshops. Off-campus activities expose

Interior Design students to historical landmarks

as well as leading design firms in the region.

Our students often secure summer internships,

as well as part-time work in the greater

Cleveland design market. Student exhibitions

and job fairs are a feature of the Institute’s

Interior Design experience.

The Interior Design curriculum shares resources

as well as studio space with the Industrial

Design Department. You’ll find an atmosphere

of collaboration, innovation and community—

as well as healthy competition—within the

design programs.

Interior Design

Courses:

• Space and Planning Fundamentals• Architectural Drawing and Documentation• Retail, Restaurant and Store Design• Materials, Research and Space Planning• Communication Skills I & II• Graphics for Design• Intermediate Problems• Retail Design and Brand Design• Architecture and Communication Skills• AutoCAD• Advanced Problems• Senior Thesis Problem• BFA Survey

Freshman Environmental Elective:• Design

Careers:

Interior Design graduates are employed in

a variety of consulting design, architectural

and interior design firms, particularly those

that specialize in interior architecture and

retail design such as Design Forum, FRCH,

MillerZell, Chute Gerdeman or Jones

Apparel Group.


A m a n d a M c Ke n z i e ’ 0 9122

M at t Ru s h ’ 0 8124

125

M i ke M u n c h o f f ’ 07126

In CIA’s Jewelry + Metals major,

you’ll work with both traditional and

contemporary metalsmithing processes

to grow as an artist of decorative and

wearable art—including jewelry, fashion

and small-scale sculpture. The skills,

knowledge and broad experiences you

collect here will build your confidence

to pursue ambitious, intelligent work

without compromise.

Courses:

• Creative Process and Materials Studies• Language and Materials• Craft + Material Culture Core Studios• Intro to Jewelry + Metals• Flatware• Casting• Forming and Fabrication• Surface• Mechanisms• Advanced Projects• Jewelry Concepts• Art and Machine• Modeling• Recycling and Renovation• Forming and Fabrication• Color• Settings• Alternative Materials for Jewelry• Production• Settings: Advanced and Basic• BFA Statement and Exhibition• Thesis/Professional Portfolio

Freshman Environmental Elective:

• Craft + Material Culture

Careers:

• Studio: fine and production jewelry • Designer • Modeler • Prototype developer• Object maker for interior/exterior home

decor and architectural detailing

A thorough understanding of techniques and

materials is fundamental to your development as

a self-sufficient, successful, prosperous artist in

this field. After learning the fundamentals, you’ll

broaden your experience through more advanced

uses of materials and technologies including forming

and fabrication, lost-wax casting, electroforming,

anodizing, sophisticated “stone” setting, working with

mechanisms, mixed media and machining. Woven

throughout our curriculum is coursework that will give

you an understanding of the history of the field and

the contemporary attitudes and ideas affecting the

making of wearables and objects within our culture.

Our fully equipped studio enables you to master

advanced techniques and explore the boundaries

of the field in concept and design, materials and

technologies. Faculty provide individual attention

and are committed to teaching you the latest in

jewelry and metalwork including, 3D modeling,

CAD/CAM and rapid prototyping—a technology

that turns your CAD/CAM design into a three-

dimensional scale model.

The study of Jewelry + Metals ensures a lifetime

of exploration and engagement as an artist. The

Institute’s program operates in an environment that

fosters risk taking and creative problem solving

and encouragement of interdisciplinary study.

In addition to studio subjects, professional

practices are addressed in every class. We

believe it’s important to participate in exhibitions

and competitions and learn to document work in

digital media. Each year CIA students produce and

enter the juried Student Independent Exhibition,

an exhibition of student work held in the school’s

Reinberger Galleries. In addition students exhibit

during our Spring Show. Some of our graduates

have worked with famous designers such as Isaac

Mizrahi, Trina Tarantino, Vera Wang and Alexis

Bittar, designing wearable accessories for the

runway, for everyday use as well as for fun.

The Jewelry + Metals curriculum embraces

other materials and spans boundaries beyond

the metal. You will study significant artists and their

works through studio and research assignments,

presentations, exhibitions and field trips. Projects

are presented to challenge you to research a

subject, explore its boundaries and innovate.

Jewelry + Metals

128 cia.edu/admissions E l i z a b e t h S t a i g e r ’ 0 9 129

A m a n d a B r i s tow ’ 0 9130

D a n i e l l e S m it h ’ 0 9 131

A d r i e n n e D i S a lvo ’ 10132

A l e x H a i n e s ’ 0 9 133

R i c h a r d Z a ro b e l l ’ 0 8134

E l i z a b e t h S t a i g e r ’ 0 9 135

Courses:

• Image and Form: Visual Literacy• Image and Form II: Reproducibility• Aesthetics, Style and Content• Subject, Content and Form• Artist as Producer• Art in the Global Context• Painting History (1828–2010)• The Tactile and The Digital: Painting

in the New Century• Painted Bodies: The Contemporary Figure• Painting as System, Method,

Organism and Concept• Framing the Subject and the Construction

of Meaning• Image and Narrative: Concept,

Abstraction, Mimesis• On Painters and Painting: Artist, Author, Aura• Painting and the Photograph: From Delacroix

to Gerhard Richter• Painting Lab: Explorations in Representation

and Figuration• Water+: An Exploration of Water-Based Media

in Contemporary Painting Practices• Color, Scale, Mark and Form• Working Collaboratively: Art and the

Group Dynamic• Major Day: Medium is the Message• Major Day: Self, World and History• Major Day: Constructing Narratives

• Major Day: Mechanics of Meaning: Subject,

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

A Studio Course Collaboration, Image,

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

Digital Media• BFA Statement and Exhibition


Careers:

The BFA degree will prepare you for a career

in the visual arts as a professional artist.

While many of our graduates go on to earn

their MFAs at pre-eminent graduate programs

to deepen their knowledge of their own practice

or become curator, critic and art administrator,

or art teacher on the K-12 or college level.

Others follow entrepreneurial paths pursuing

successful careers as illustrators, designers,

creative directors, set designers, or creative

talent for television shows.

Painting

The Painting department at the Cleveland Institute of Art

has a long and illustrious history of producing successful

alumni. In this major you’ll experience a wide range

of approaches to abstract and figural painting as well

as alternative media and installation.

At the core of our curriculum is an understanding of

what it means to be a professional artist. We present

a solid grounding in technical skills, art criticism and

theory, as well as contemporary practices in the

visual arts. Our faculty of professional artists with

diverse approaches to art-making will guide your

work through individual and group studio critiques,

workshops, seminars and courses in special topics.

Once you have received a firm grounding in both the

technical and conceptual aspects of painting you’ll

begin to develop a personal body of work and an

imaginative approach to problem solving. As part

of the Visual Arts + Technologies (VAT) Environment

at CIA, Painting students share in an integrated

curriculum that will give you a broad knowledge in

the visual arts and in-depth awareness of the painting

as a studio practice. Your knowledge and experience

will be enriched as you pursue collaborations and

shared coursework in the other disciplines that make

up the VAT Environment: Drawing, Printmaking, Fiber +

Material Studies and Sculpture.

A series of special events, exhibitions, artist visits

and scholar programs will present you with the

issues and practices you can expect to face in

professional life. In addition, you’ll have access to

the VAT Environment Artist-In-Residence, who is an

artist working at the top of his or her field. This artist

teaches regular courses in the environment as well

as works individually with students. In the spring you

have an opportunity to travel to New York during an

annual trip sponsored by the VAT Environment, where

you’ll experience first-hand professional galleries

and exhibitions such as the Whitney Biennial and

the Armory Show.

In our Professional Practices program you’ll develop

small business knowledge that will empower you to

set up your professional studio. You’ll be tutored in

creating your professional portfolio and developing

grant-writing skills. In addition, you’ll learn about

the appropriate communications skills and proper

etiquette necessary for successfully approaching

dealers, curators and collectors.

Painting students have generous individual studio

spaces, a well-equipped workshop and excellent

critique space, all within the sky-lit, factory loft space

of the Joseph McCullough Center for the Visual

Arts. The Painting curriculum culminates with a BFA

exhibition that consists not only of presenting a body

of self-initiated work, but also an oral defense and

a written artist statement.


K at h e r i n e W i d e n ’ 0 9

S a m a n t h a H a n s o n ’ 10138

A n to n i a M a z u r a n i c ’ 10 139

M at t h e w P a l m e r ’ 0 9140

T h o m a s S p o e r n d l e ’ 07142

A n to n i a M a z u r a n i c ’ 10 143

Courses:

• Visual Organization and Media • Narrative, Sequence and Storyboarding • Web Practice and Presence • Mechanics of Digital and Film• History of Photography • Studio Lighting • Editorial Photography • The Fine Art Silver Print • Visual Thinking in Contemporary

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

in Theory and Practice• Major Day: Photographic Materials

and Processes• Major Day: Conceptual Foundations

in Photography• Special Topics: Contemporary Narrative

Constructs: Digital and Film-Based Projects• Digital Photo Imaging II: CS4 Color

Managed Workflow• Digital Photo Imaging III: Advanced Digital

Projects: Archival and Large Format Printing• Video Basic Tools I• Video II• Methodologies and Practices• BFA Thesis and Exhibition

Freshman Environmental Elective: • Integrated Media

Careers:

Your future in photography could include any of the following careers:

• Studio artists• Video artists• Art educators and university professors• Independent and industry

photographers and filmmakers• Art directors• Commercial photographers• Fashion photographers• Photojournalists• Digital imaging specialists• Scientific and medical imaging• Gallery and museum directors• Visual effects supervisor

Photography The unique opportunities we offer in our Photography

major will give you a creative advantage in shaping your

career and help you launch your dream profession.

Focus your study on one of three tracks: Digital

and Photographic Arts, Film and Video, or Publication

Photography. In each track, you’ll develop a deep

knowledge of the medium through a curriculum

steeped in the traditional methods of photography—

film and chemistry.

Your technical expertise will grow as you work

with professional imaging equipment, formats of

digital and film cameras, studio lighting and digital

manipulation and enhancement. In addition,

your study of still and moving imagery will include

exposure to film and video, digital editing, current

rip printing software and the use of special effects.

Each track within the major offers the expertise

of a diverse, committed faculty and the insight of

visiting artists delivered through interdisciplinary,

collaborative teaching and creative exploration.

All students work in their own individual studio

space and have access to exhibition areas.

You will achieve a rich and varied knowledge of

the techniques and aesthetics of photography as

you explore an array of photographic and video

materials, processes and conceptual approaches.

You’ll refine your unique vision and learn to

communicate that vision through assignments,

lectures, critiques and one-on-one discussions.

As a student in this major, you’re encouraged to

participate in exchange programs, international

mobility studies and internships with professional

artists and photographers. You can also participate

in onsite workshops and lectures sponsored by

professional organizations such as ASMP (American

Society of Media Photographers) and by industry

representatives from Fujifilm, Leaf America, Gretag

MacBeth, Mamiya, Hasselblad and Polaroid

Corporation. All CIA students take Professional

Practices courses to develop those skills for a

successful career and in the Photography major

we also bring in professional journalists, critics,

writers, collectors, curators and museum and

gallery directors to meet with you and critique

and review portfolios.

CIA’s Photography department operates in

spacious facilities equipped with film-based color

and black-and-white darkrooms, a full-featured

digital imaging and printing lab and both video and

16mm film editing and computing facilities. You’ll

work in start-of-the-art lighting studios with a large

Light Side Lighting Studio that is more than 1,200

square feet with a 24-foot ceiling and a two-story

wall of windows. Our Dark Side Lighting Studio is

898 square feet with 12-foot ceilings and a curtain

system for light control. Additional equipment also

available to you includes color and black-and-white

enlargers, medium- and large-format cameras, color

management software and black-and-white dip-

and-dunk film processing.

Our graduates go on to become commercial

photographers, photojournalists, and fashion

photographers and work in scientific, medical

and forensic imaging. In addition, graduates have

gone on to graduate schools, to contribute as art

educators, or work within the field as independent

photographers, filmmakers and video artists.


M a r t i n A . E . E i s e r ’ 10

145

K i r a Ro b l e s ’ 10146

M e g a n D r m o t a ’ 1 1 147

N e m at-A l l au K h a l i l ’ 0 9148

S a r a h G ro h ’ 10 149

L au r a B e l l ’ 0 8150

Ry a n D iV it a ’ 0 6 151

For centuries, printmaking has been used to influence

culture. This experimental approach to image making

embraces, utilizes, and challenges technology from

relief printing to online distribution of digital products.

Courses:

• Image and Form: Visual Literacy• Image and Form II: Reproducibility• Aesthetics, Style and Content• Subject, Content and Form• Artist as Producer• Art in the Global Context• Image Construction, Line and Sequence• The Artist’s Book Now: Narrative and Form• Collaboration Through a Printed Experience• Propaganda: Media, Dissemination, Techniques• Intaglio/Relief• Printmaking Seminar • Expanded Print: New Imaging• The Liberated Print: Investigation

of Alternative Methods• BFA Statement and Exhibition


Careers:

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

Printmaking As a print student you will develop a broad base

of knowledge of various print mediums, including

traditional intaglio, lithography and relief printing,

as well as digital media applications. The program

combines approaches to learning that range

from kinesthetic to theoretical. As you grow in the

major, so too will your ability to produce distinct

impressions and multiples, from hand-printed

limited editions to unlimited digital ones.

In the Printmaking major you will find cooperation

and synergy—students and faculty investigating,

challenging and influencing this field together.

We foster a vigorous environment with a structured

program that nurtures, challenges and supports

individual vision and talent. Our studio workshop

cultivates an innovative and collaborative

atmosphere where you’ll take part in the free

exchange of ideas, methodology and artistic

inquiry. Within the Printmaking space, we’ve

created a professional studio setting of more than

4,000 square feet. You’ll have access to numerous

etching and lithography presses, as well as book

arts and letterpress facilities. You will also receive

a personal studio space, allowing you to explore

and create in your very own environment.

Through our required studio courses you’ll develop

a comprehensive approach to understanding,

defining, making and questioning your practice

of printmaking. Our curriculum is designed to

develop your intellectual, creative and critical

abilities. You’ll work with a committed group of

faculty who are practicing artists widely respected

for their knowledge and achievements. They will

work with you to hone your skills and define your

personal direction.


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.


B ro o ke I n m a n ’ 0 6

153

A m a n d a B r i s tow ’ 0 9154

A n d re a Jo k i 155

J a m e s G l i c k ’ 10156

K at i e L o e s e l ’ 0 7 157

R a c h e l S h e l to n ’ 1 1158

L i z Va l a s c o ’ 1 1 159

Courses:

• Image and Form: Visual Literacy• Image and Form II: Reproducibility• Aesthetics, Style and Content• Subject, Content and Form• Artist as Producer• Art in the Global Context• Basic Materials and Techniques• Aesthetics of Materiality• Mapping and Memory: Spatial Constructions• Design as Sculpture• The Rhetorical Object: Conceptual

Constructions: Intermediate Sculpture• Art and Public Space• Advanced Studio Workshop: Physical and

Visual Language/BFA Portfolio Development• Major Day• Kinetics and Space• Environmental Sculpture• Installation: Light as Material• Installation and the Constructed Object• BFA Statement and Exhibition


Careers:

CIA’s Sculpture program will prepare you for

a dynamic career as a professional working

artist. Students who have graduated with

degrees in Sculpture have gone on to work

in a wide variety of fields including creative

design, education, gallery direction and non-

profit administration. An exceptional number

of our graduates maintain life-long careers

as successful studio artists operating in the

top of their field.

Sculpture No longer confined to the pedestal, the field of sculpture

has exploded since the 1950s. Always a creative and

diverse field, this traditional discipline now encompasses

myriad modern approaches.

You’ll find sculpture-educated artists creating

installations, performance pieces, public art,

social interventions, site-specific works and

earthworks—all in addition to crafting traditional

object-based works.

You’ll receive a wide range of support beginning with

a faculty of professionals with diverse approaches

to art-making and a commitment to mentoring their

students. Your beginning level courses in Sculpture

will establish a critical foundation of sculptural design

and studio skills. We want each student to have a

thorough introduction to all of the various processes

and techniques important to the sculptor. These

will include mold making, foundry casting, forging,

wood and metal design and fabrication and more.

Guided by faculty advisors who provide one-on-one

instruction and guidance, Sculpture majors are often

able to work directly with other studio areas within

crafts, design and media technologies.


Environment at CIA, Sculpture students share in

an integrated curriculum that will give you a broad

knowledge in the visual arts while strengthening your

in-depth conceptual knowledge of the Sculpture

discipline. You’ll have many opportunities to pursue

collaborations and shared coursework in the other

disciplines that make up the VAT Environment:

Drawing, Fiber + Material Studies, Painting and

Printmaking. Working with these majors will give

you a chance to experiment with various modes

of presentation including installation, performance

and site-specific work.

In addition, you’ll have access to the VAT

Environment Artist-In-Residence, who is an artist

working at the top of their field. This artist teaches

regular courses in the environment as well as working

individually with students. In the spring you have an

opportunity to travel to New York during an annual

trip, sponsored by the VAT Environment, where

you’ll experience first hand professional galleries

and exhibitions such as the Whitney Biennial and

the Armory Show. In addition we will introduce you

to new technologies in visualization, design and

execution of sculptural work.

Sculpture is housed on the second floor of the

McCullough building and maintains a state-of-the-

art facility with extensive wood and metal working

capabilities. And when you arrive at CIA in fall 2011,

you’ll also be able to use our newly installed cold-

casting facility.


Je f f re y G u h d e ’ 0 4

S c o t t S t i b i c h ’ 0 9162

B r i o n H a r d i n k ’ 10 163

Je s s i c a A d a n i c h ’ 0 9164

C h a r m a i n e S p e n c e r ’ 0 5 165

C h a r m a i n e S p e n c e r ’ 0 5166

Take your creative mind to a new

level as you work at the intersection

of social media, culture, technology

and the studio arts. In our T.I .M.E .–

Digital Arts major you’ll develop

innovative projects from the world

of interactive media.

Courses:

• 2D and 3D Design• Digital Art and Design I & II• Intro to Electronic Arts:

Coding, Hacks and Space• Experimentation in Electronic Arts I & II• Creative Resistance:

Media Art in Social Sphere• Code as Art: Programming for Artists• Screenwriting• BFA Preparation• BFA Thesis and Exhibit


Careers:

• New media (electronic arts)

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

media producer• Museum installation

We encourage you to experiment as you develop

hybridized projects that incorporate technologies

that include video, interactive web technologies,

photography and animation. The final product is

based on your creative input.

In the T.I.M.E.–Digital Arts major you will develop

custom media tools, learn to research, experiment,

create prototypes of projects, produce and

document the process and final outcome. You’ll

also build your ability to master interactive forms

of media including live media, performance and

linear media. Work with computer scripts, develop

interactive sound and video works, expand gaming

environments, or create circuit bending sound

instruments. You’ll be able to conceive, plan and

program your own software-based artwork. As you

develop strong foundation skills in your first year at

CIA, your knowledge of traditional studio arts will

enhance your interactive projects, giving you

a robust toolkit to expand your creative process.

Our faculty are professionals in the field who are

well-known for creating a collaborative classroom

environment to help you grow creatively and

professionally. Faculty will guide you through

an important foundation in research and critical

thinking—helping you develop the tools for creative

problem solving and conceptual thinking. You’ll also

explore the impact your work will have in social,

ethical and cultural contexts, including developing

the strategies of integrating social activism with

media art. With CIA’s 9:1 student to faculty ratio,

you’ll receive the individual attention and mentorship

that will help you develop real-world experience.

In addition to providing access and exploration

of traditional studio arts, we know that your major

requires extensive technology use. At CIA you’ll work

in more than just our state-of-the-art computer labs.

You can check out the latest equipment for digital

video, lighting and sound. And your projects will look

professionally produced with the help of a motion

capture system, a green-screen Chroma Key studio

area, two separate lighting and shooting spaces

and a sound recording studio.

Career success at CIA is built on developing

real-world experience and strengthening your

communications skills. Each year you’ll have



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


Yu Ue d a ’ 10

169

D o r i a n S a n d e r s ’ 1 2 171


S a r a h L e it te n ’ 0 9 173

J i m W i s e r ’ 10174

Excel in the field of video and time-based media with the

resources and creative perspective that only a premier

college of art and design can offer.

As a student in the Video major at CIA you’ll work

in the traditional methods of video as well as in

the software-generated or assisted techniques of

image creation. Work with faculty who have proven

success in video art as you develop projects that

incorporate cinematography, sound, lighting,

editing, photography and animation.

As a Video major you’ll experience a comprehensive

range of challenges and approaches to working

on the entire media-production pipeline, including

the use of digitally-based art and design strategies,

storyboarding, sequencing, concept mapping,

acting, pre-production and post-production. And

we provide historical context to film—initiating

discussion on the cultural and social impacts of

video and digital media.

Collaboration and team projects are a vital part of

the studio experience at CIA. As a major within our

Integrated Media Environment, Video students join

our community of digital arts students. You’ll take

core courses with students from other majors

in the environment and regularly exchange a

variety of differing perspectives and techniques.

These experiences build team skills integral to

collaborative brainstorming, character design,

narrative ideas, production and presenting and

critiquing project outcomes.

Built into our curriculum are many opportunities

to work with professionals in the field and gain

valuable professional skills prior to graduation.

In addition to encouraging and facilitating students

to submit finished work to film festivals throughout

the world, CIA’s own annual E.M.I.T. Student Film,

Video and Animation Festival gives students the

opportunity to show their work publicly. Plus you’ll

be inspired by alternative and independent films at

the Cleveland Institute of Art Cinematheque, named

by the New York Times as one of the country’s best

repertory movie theaters.

CIA Video major students will receive a personal

computer with all needed software for the entire

duration of their study as well as a studio space.

We know that your major requires extensive

technology use, so you’ll have access to more

than just our state-of-the-art computer labs.

With your ID card you can check out the latest

equipment for digital video, lighting and sound.

And your projects will look professionally produced

with the help of a green-screen Chroma Key studio

area, two separate lighting and shooting spaces

and a sound recording studio.

Video

Courses:

• 2D and 3D Design• Digital Art and Design I & II • Digital Photography I• Experimental Video• Introduction to Animation• Introduction to Media Production

and Integration• Lighting• Motion Graphics• Moving Image in Space• Narrative Production I & II• Narrative, Sequence and Storyboarding• Screenwriting• Sound Design• Video I & II• Visual Organization and Media• Web Media Production


Careers:

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


Wa r re n H a r r i s Vi s it i n g A r t i s t 179

K i d i s t G e t a c h e w ’ 0 3180

B e n K i n s l e y ’ 0 5 & A n d re w S t r a s s e r ’ 0 5 181

B e n K i n s l e y ’ 0 5182

funfacts & figures

1 2 3 4 5 6 7 8 9 10

11121314151617181920

21222324252627282930

31323334353637383940

41424344454647484950

spend 50 hours a week in their studio

have 14 pairs of shoes in their closet

On Average Our Seniors...

text 806 messages each month

(compared to 12 calls a month home)

consumed 22,365 slices of pizza as a class since their freshman year


Our Faculty

Our design faculty hold numerous patents,

have designed spaces for internationally-known

businesses and restaurants and worked with

local governments to establish sustainable design

solutions. They value lifelong learning and are

regularly awarded intensive fellowships and

international residencies to continue their artistic

explorations. And they bring those experiences

back to the classroom.

With a 9:1 student to faculty ratio our faculty

engage students on an individual level. Small class

sizes enable faculty to work with you in the studio

and the classroom, to take learning around a

table or face-to-face rather than to a lecture hall.

Our faculty excel at this one-on-one learning

experience—it is an attribute our alumni always

remember, years after graduation.

Their community partnerships become your

community partnerships. For their students,

they open doors to workshops with visiting

artists, internships, partnerships and real-world

experience. Take a look at some of our faculty,

learn about their own artistic explorations and

see the partnerships they’ve built.

Your professors will help define the artist or designer you become—

the artistic risks you take and the approach you develop to creative

problem solving. At CIA our faculty open doors to experiences that are

unmatched. Their dedication to teaching and exploration fuels our

creative community. As practicing artists and designers, CIA faculty are

mentors who teach from a place of experience and success. Their work

rests in the permanent collections of the most prestigious museums in

the world; The Smithsonian, The Vatican, the Museum of Modern Art

and the Cleveland Museum of Art.


Chair: Integrated Media Environment

Department Head: T.I.M.E.–Digital Arts

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

California College of Arts and Crafts, MFA

For Kristen Baumlier, life leads to art and art can

motivate. It can change thoughts and perspectives.

It can be a wakeup call and a call to action. As a

teacher, Baumlier inspires students to collaborate in

their own education and engage the transformative

power of art. She encourages them to channel

their beliefs “past complaining and toward asking

questions and indicating solutions.”

In her own art, Baumlier uses interactivity and

humor to engage audiences around the world.

In 2005, she developed “Oh, Petroleum,” in

which she transformed into the Petroleum Pop

Princess to spark debate over materialism and

oil consumerism. As an interdisciplinary artist,

she uses moving images, sound and choreography

in non-traditional ways to provide multiple access

points to ideas. She combines analog and digital

sources and work in forms that include video,

sound, photography, performance and installation.

Catch her in her off-hours climbing rocks, scouting

farmers markets for food to use in great vegetarian-

cooking recipes and passionately researching new

projects. A new project takes her to Wisconsin to

buy soybeans for an investigation of food systems

and the genetic engineering of food.

On art :

Make art about

something.

On teaching:

I aim to teach students

to think, question,

communicate and

create projects that

enrich their education

and conceptually

strengthen an idea,

thought or theory.

On her bookshelf:

Tomorrow’s Table:

Organic Farming,

Genetics and the

Future of Food by

Pamela C. Ronald

and R. W. Adamchak

Kristen Baumlier

Dan CuffaroChair: Design Environment

Department Head: Industrial Design

Anne Fluckey Lindseth Professor of Industrial Design

The Cleveland Institute of Art, BFA

Dan Cuffaro loves good design. He loves it so

much that when he’s not working in it professionally,

he’s doing it for fun. “I enjoy walking through old

neighborhoods and downtown, soaking up the

amazing architectural details and rich materials

of traditional structures,” says Cuffaro. “But I also

seek out new and innovative architecture whenever

I travel. One of my side-projects is creating scale

replicas of my favorite places in the world. This

three-year effort thus far includes the Chapel of the

Holy Cross in Sedona, AZ, Charles Street in Boston

and a Nordpark transit station in Innsbruck, Austria.”

For Cuffaro, this project is about understanding

relationships of spaces and materials, the importance

of scale and the evolution in thinking over time.

Cuffaro is co-founder of the District of Design, an

economic development initiative in Cleveland. He is

also winner of six IDSA/Business Week IDEA awards

and holds 13 patents.

In the classroom, Cuffaro leads students toward

building KNOWLEDGE, skills and a visual vocabulary

so they can meet design challenges with both

expertise and a sense of humanity. Central to his

philosophy, he says, “is the ability to see the world

from someone else’s point of view. This user-

centered approach provides a continuous source

of new problems, which can yield new ideas while

helping the designer develop a sense of empathy

and context.”

One of the most successful teaching experiences

concerned a project that addressed the safety of

U.S. servicemen. “The project lasted over a year

and required students and faculty to work side-by-

side,” Cuffaro says. “The opportunity to define the

correct process, then to pair professionals with

students on solving a real and serious problem,

provided an amazing learning opportunity. The

students who were involved matured so quickly

and really understood the talent and experience

of their faculty.”

On professionalism:

My intent is to produce

good design, which

I believe is exemplif ied

by solutions that meet

the intended need and

are beautiful, function

well and are well made.

On teaching:

Core to my philosophy

is the ability to see the

world from someone

else’s point of view.

On the well-set table:

I love trying new

restaurants, but my

favorite spots to dine

out are Pomodoro in

Boston’s North End

and Momocho in

Cleveland’s Ohio City.


Department Head: Printmaking

Associate Professor: Printmaking

Clemson University, MFA Printmaking

Xavier University, BA Printmaking, Graphic Design and Business

Denk-Leigh teaches by teaching—and by doing.

“I believe an educator teaches by example,”

she says. “My own studio work ethic is two-fold.

It demonstrates solutions to technical and project-

driven questions and it reveals the educator as

a model of a diligent artist and life long student.”

Denk-Leigh is a board president of Morgan

Conservatory (a paper and book arts center) and

received Best in Show Award at “COMMUNinkATE”

The Spring 2010 Mid-America Print Council Juried

Members Exhibition.

As a fine-art printmaker, Denk-Leigh’s calendar

is packed with new projects, group and solo

exhibitions and with jurying the works of others.

Critical Condition, her artist book and lithograph

series, stemmed from her interest in the growing

debate over climate change. “It’s about what has

come before and what comes next. Terminology

associated with the northern polar ice cap has

stimulated considerations to what has come

before: Before in earth’s evolution, before in the

life span of living species as the thaw reveals a

time past and before my life in reflection to what

comes next,” she says.

On art :

Building narratives

through sequences,

I challenge the notion of

audience desensitization

by media, often

responding to a chain of

sensationalized events.

On teaching:

We come in contact with

many people during our

life. Relative to an entire

lifetime, the amount

of time I will share with

a student is small. My

devotion is mandatory.

Maggie Denk-Leigh

Mari HulickDepartment Head: Communication Design

Associate Professor: Communication Design

Northwestern University, MFA

University of Michigan, BA

Art Institute of Chicago, Post Baccalaureate

Like a true educator, Mari Hulick is never

done learning.The Head of Communication Design

has lightened her load of earthly possessions to

make it easier to travel and she keeps an eclectic

stack of reading material at the ready for her off-

hours. “Every day, I walk, make something new in

the studio (no matter how small), make something

new in the kitchen (no matter how silly), listen to at

least one new piece of music and read a little bit

about something I didn’t know about yesterday.”

That helps explain why, when it comes to her

work in the classroom, Hulick believes it’s her job

to show students that school is not a stopover

before ‘Real Life.’ “It is real life,” she says. “And

the more we impart our passions about and our

contradictions within our professions, the better

prepared our students will be for their new ( just

as real) lives.”

In recent design work, she collaborated with Carl

Pope on “The Wall Remixed,” a print campaign

celebrating North Philadelphia neighborhoods.

She is creating ongoing information design for

educational tools on the American Civil War and

she’s involved in a history campaign on the Flats.

“We live in a time when the design of all things,

from the constructed world to the patterns of

human thought and activity, revolves around

information,” Hulick says. “The role of the

Communication Designer is to reveal and

assemble this information into physical, digital

and spatial documents that make our world

possible and functional.”

On teaching:

Teaching is not simply a

part of my work and my

life. It is central to both.

On design:

Good design serves its

purpose well. Great

design inspires, angers,

awes, enlivens, calms

and transcends. It is the

stuf f of life.

On travel :

I love to travel and

to make up for the

carbon footprint of the

international f lights every

year, I live in Cleveland

without a car.


Chair: Visual Arts + Technologies Environment

Associate Professor: Painting

University of Massachusetts, MFA

School of Visual Arts, NYC, MFA

School of Visual Arts, NYC, Four-Year Certificate

For more than 30 years, Saul Ostrow has

committed himself as an artist, curator, thought

leader and writer on the critical issues of art and

culture. From studio to classroom to the pages of

international art magazines, Ostrow digs deep into

how art works. In engaging with students, Ostrow

aims to guide them not just toward competence

with craft, but also toward deep understanding

of their work and the art of others.

Ostrow is also art editor for Bomb Magazine

and editor of “Critical Voices in Art, Theory and

Criticism” (Routledge Press).

“I want students to learn that the fundamental

perspective of an artist is informed by: technical,

intellectual, communication skills and intuition,”

he says. “It is also necessary to offer them

concrete examples of contemporary artists who

worked within multiple frameworks so that they

may understand the mechanisms of the art world,

while studying the artists’ work for their aesthetic

inventiveness and rigor.”

Ostrow lives and works in New York and Cleveland.

He loves to cook and entertain, drinks good wine

and cold vodka and enjoys the occasional cigar.

On art :

The political nature

of art is its ability to

experientially re-order

our relation to the world

and with this give us

insight into our social

existence as subjects

rather than objects.

On teaching:

The reward of teaching

is the sharing of one’s

knowledge, but also

to enable a student to

develop their critical

abilities and views.

On his bookshelf:

Good cookbooks,

science fiction and

murder mysteries.

Saul Ostrow

Brent Kee YoungDepartment Head: Glass

Professor: Glass

State University of New York, College of Ceramics at Alfred University, MFA

San Jose State University, BA Ceramic Art/Glass concentration

Innovation and tradition find their way into the work

of Brent Kee Young, whose contemporary glass has

been recognized around the world.

Young has traveled throughout the United States

and Asia to lead workshops on contemporary

glass. Young was head of Glass at Aichi University

of Education in Japan in 1990. He established the

studio and curriculum for the first Glass program

in a National University in Japan. For his recent

Matrix series, Young posed the creative question:

Can form be defined using only light and line? The

works themselves, in which forms are created from

webs of clear glass, were informed by geometric

studies. “The mathematical study of volumes of

solid revolution has helped immensely,” Young

says. “The works are usually comprised of a number

of geometric forms rotated into a solid, set off by

another form that usually ends up being part of a

rectilinear compositional base.”

Young’s affection for folk art can be found in the

simplicity of form. “I love the unpretentious, honest

feeling of the maker’s hand revealed within the

object,” he says. “The least pretentious, least

decorated forms seem to resonate with me

the most.” Young wants his students to achieve

excellence on two levels. “One is to dedicate

energy, time and resources to the learning of the

media, working with a fascinating material, with all

of its history, art, craft, physics, difficulties, laying

groundwork within each student to somehow

understand the ‘how’s’ of working in glass,” he

says. But the “why’s” are at least as important

“to understand themselves and expand on the

limitations that they have to this point grown with.”

On art:

Maintaining this dialogue

between the ar tists, the

work and the viewer is the

essence of what ar t is.

On teaching:

The buzz phrase now

is life long learning. In the

’70s, I called it learning

to learn. The importance

is not the object but what

you learn in the process

of realizing it, emphasizing

the learning process.

On six strings:

Young recently picked

up the Martin 0021

guitar he learned to play

during the folk-music

era before abandoning

it for 35 years while he

dedicated himself to

glass and ceramics.


Department Head: Fiber + Material Studies

Professor: Fiber + Material Studies

Cranbrook Academy of Art, MFA

Barnard College, BA, Urban Studies

After earning her undergraduate degree, Tina

Cassara spent time in Viques in the Juan region of

Peru, where she studied with Francisca Mayer from

Black Mountain College and taught natural dyes

derived from indigenous plants to the local weavers

in an effort to revive the industry. While living in New

York City, Cassara was co-editor of Sing Out! The

Folk Song Magazine before attending Cranbrook

Academy of Art where she received a MFA from

the Fiber Department.

Cassara has conducted extensive research into

women’s labor in the American textile industry,

issues of European migration and relocation and

more recently, the assigned value of labor in

historically women-dominated textile industries

in the South.

In the late 1990s, Cassara began exploring the

history of textile production, one of the first areas of

manufacturing to industrialize and one of the most

resistant to unions. A strong advocate for organized

labor, Cassara began conducting one-on-one

interviews in LaGrange, Georgia and nearby mill

towns, with retired textile mill workers, factory owners,

surviving union organizers and members of various

textile heritage societies.

In 2008–09, Cassara was awarded a sabbatical to

further her research in the network of textile heritage

societies. She traveled to Cooleemee, NC, to work

with organizers of the Textile Heritage Initiative and

members of the Troop County Historical Society and

perform additional research at the Center for Public

History at the University of West Georgia. Cassara’s

research continues in Scranton, Pa., where she

is examining documents related to the extensive

growth of the mining and silk textile industries. She

is currently working on a community-based, social

practices exhibition at the Cochran Art Center in

LaGrange, Georgia, scheduled for 2011.

On teaching:

I am an artist and

I speak to the

students as artists.

Tina Cassara

Michael A. GolliniDepartment Head: Interior Design

Associate Professor: Interior Design

The Cleveland Institute of Art, BFA, Industrial Design; minor, Interior and Graphic Design

In business and in teaching, Michael Gollini knows

the value of the wide horizon. A veteran designer

schooled in both product and interiors, Gollini

has learned multiple disciplines and worked in a

variety of arenas, providing conceptual imagery

for retailers, restaurants, museums and exhibits.

In addition to his work at CIA, Gollini is president of

Michael Gollini Design Group, Inc. and member of

the design review board of the Cleveland Botanical

Garden. His clients have included Walt Disney

World, IHOP, Sears, Wolfgang Puck and BMW.

He and his family live in a house he designed,

expanded and renovated “with the help of my

father and a family full of trades people.” It’s filled

with furniture he designed and built in his home

shop. Gollini plays guitar, goes to concerts with his

kids and has a passion for movies as both lowbrow

entertainment and a wildly influential art form.

Likewise, he hopes his students bring varied

experiences to their studies and careers. “We must

encourage students to carry on with their studies

in art and literature,” he says. “These influences

will build depth and broaden the spectrum of their

work in their major. An eclectic education will build

a student’s character and personality.”

On teaching:

I try to encourage my

students to think beyond

the obvious while

designing or doing

research. If the project is

to design a coffee shop,

they need to go further

into the DNA of the

customer and their

design proposals.

On technology:

Working with a Wacom

Cintiq and my traditional

drawing-board skills,

I can produce images

that bridge traditional

and contemporary

while giving me editing

flexibility that I didn’t

have 10 years ago.

On his media shelves:

I have a ridiculous

comic and graphic novel

collection going back

to the mid ’70s. This art

form is what motivated

me to attend art school.


Chair: Craft + Material Culture Environment

Department Head: Enameling

Professor: Enameling

Kent State University, MFA and BFA, Enameling

Gretchen Goss balances the time devoted to

teaching and her studio with as much time as

she can engaging with nature through gardening,

picking and canning fruits and vegetables, running

trails and swimming in lakes whenever possible.

So it’s little surprise that when she gets into her

studio to create enamel art, nature shows up in

spades. Farms, gardens, plant forms and the

tranquility of water are recurring themes in Goss’

work. And for more than 30 years, Goss has been

committed to exploring the medium of enamel

with students and artists.

“It is liberating to work in a medium so unique and

rarely seen in mainstream art and contemporary

craft practice,” Goss says.

Goss enjoys travel and often travels based on

teaching engagements. “I’ve had the opportunity

to teach in England and on both coasts of the US

and between. I try to see and absorb as much of

the local environment as possible with each new

teaching experience.” Goss is also a frequent

exhibitor at the Philadelphia Museum of Art

Craft Show.

With students, Goss aims to relay knowledge by

example and exposure to established skills and

traditions. But it’s important, too, that students

feel encouraged to innovate. Her hope is that

even as they’re learning techniques and concepts,

they’re exploring a variety of career paths and

homing in on who they want to be as artists.

On her art :

An ongoing intrigue

with the natural world

and our interpersonal

relationships within it

are the inspiration for

my work.

On teaching:

It is my goal that this

environment of learning,

discovery, practice and

assessment will nurture

the development of each

individual student as an

independent artist.

On being green:

She attempts to leave

as minimal a footprint

as possible on the

environment, “and

there’s always room

for improvement.”

Gretchen Goss

Joyce KesslerChair: Liberal Arts Environment

Associate Professor: Liberal Arts

Case Western Reserve University, PhD, American Literature

Cleveland State University, MA

Cleveland State University, BA, English Literature

Joyce Kessler is a believer in the Socratic method of

teaching, giving students a chance to learn through

debate and discussion. She believes that teaching

is companionate; and her role is to walk with the

student to the place of learning.

An expert on the work of 20th century American

novelist Willa Cather, Kessler has written and

lectured on Cather’s transgendered characters,

on her narrative strategies regarding the

representation of race and on Cather’s use of the

visual arts in her fiction. Her article, “‘The Cruelty

of Physical Things’: Picture Writing and Violence

in Willa Cather’s ‘The Profile,’” will be published

in Cather Studies, volume 9, in 2011.

Beyond her work as Liberal Arts Environment

Chair, she served as Interim Dean of Faculty from

2005–2007 and in 1996 collaborated with the Office

of Academic Services to create the Center for Writing

and Learning Support, which helps students with

academic writing and study skills.

Off-hours she spends time reading and writing,

walking her Labrador, Cyro, and playing basketball

with her dachshund, Roxanne, and plying her daily

yoga practice.

On learning:

Students are expected

to learn not just from

me, but from each

other, as well, and to

contribute what they

know to the general

fund of knowledge as

the course proceeds.

On preparing to learn:

To foster their keenest

concentration, Kessler

makes her students

begin every class with

a few Yoga poses.

On the alternate

universe:

Kessler is pretty sure

she was a skateboard

hero in another life.


As life-long learners and practicing artists, CIA faculty

will keep you on the creative edge. Each year many of

our faculty apply to and are accepted into some of the

most prestigious national and international residency

programs. Generally completed over the summer, these

programs give faculty a chance to explore and refine

their technique or develop additional depth in their

art and design. What they gain from these enriching

residencies finds its way back into the classroom—

their experience becomes your experience.

Take a look at some of the residencies our faculty

have attended over the past two years.

• Burren College of Art in Ireland • Performing Arts Center in Calais, France • Dieu Donne Papermill in New York • Sculpture Space in Utica, NY • Swarm Gallery in Oakland, California • Banff Centre in Alberta, Canada • Artists’ Enclave at I-Park in

East Haddam, Connecticut • Headlands Center for the Arts in Sausalito, California • Caldera, in Portland, Oregon • Hambidge Center for Creative Arts & Sciences

in Georgia • Roswell Artists in Residence Program in New Mexico • Nantucket Island School of Design and the Arts • Camac Centre d’Art in Marnay-sur Seine, France • Fachhochschule University of Applied Sciences

in Schwaebisch Hall, Germany• Haystack Mountain School of Crafts

in Deer Isle, Maine • Northern Clay Center in Minneapolis

The Creative Edge


Faculty Partnerships = Student Experience

Our location in the heart of the region’s cultural, educational and

medical district is a catalyst for partnerships and collaborations that

are unmatched at any art and design school. And CIA faculty are at

the root of these relationships.

Our Biomedical Art students work with cancer researchers at University Hospitals and the Cleveland Clinic,

Fiber + Material Studies students help families design quilt patches for placement on the AIDS Memorial Quilt.

Students in the Visual Arts + Technologies Environment exhibit at the Coventry Arts Gallery and Communication

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

partnerships from the 2009–10 school year. Take a minute to read through each project and get a real sense

of the real-world experiences available at CIA.

Fantasy Chess Sets

Each year CIA Foundation Professor Barbara Stanczak takes her students to

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

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

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

set of their own. They are required to create a set that includes 32 figures,

a playing board and a game storage piece. Through her partnership with the

library, Professor Stanczak’s students are then given display space in the

library to exhibit their chess sets.

CIA Students + Gauguin

When the Cleveland Museum of Art was looking for help in developing the educational component of

their world-renowned Gauguin Exhibit in the spring of 2009, they turned to CIA Associate Professor

of Printmaking, Maggie Denk-Leigh. Maggie’s students created a video on the lost art of xenographic

printmaking—a form of printmaking used in Gauguin’s time. The video played to all visitors of the exhibit—

running for more than 3 months. And then the relationship grew. CIA students created a companion exhibit

that ran alongside the Gauguin Exhibit. CMA curators asked all CIA students to submit artwork for a café-

style exhibit, in the Gauguin tradition. Both the student exhibit and the video continued with the Gauguin

exhibit as it went international, traveling to Amsterdam with the Gauguin Exhibition.

iPhone app

Every year in his Game Design classes, Knut Hybinette, Assistant Professor, T.I.M.E.–Digital Arts partners

his students with computer science students from Case Western Reserve University. Out of last year’s

partnership came a new iPhone app, ChromaWaves. Knut also reached out to three producers and a

creative director from the nationally renowned video game producer Electronic Arts (EA) to critique the

game. They gave ChromaWaves high marks and in August 2010 it officially launched as an iPhone app.

Sustainable Design

CIA students took local, sustainable design to a new level by creating furniture for

the future using materials from Cleveland’s past. In partnership with the nonprofit

salvaged woodworking firm A Piece of Cleveland (APOC), Associate Professor

Dan Cuffaro led junior Industrial Design students in a project to craft furniture

using materials reclaimed from deconstructed Cleveland buildings. The students

worked with real clients in departments throughout CIA to develop furniture

solutions for office and public space. They presented their designs and working

prototypes to the CIA community during an exhibit in CIA’s Reinberger Galleries.

The best of the designs will be built and used in CIA’s campus unification project,

which includes a significant renovation of the Joseph McCullough Center for the

Visual Arts and the construction of a new signature building adjacent to the JMC.


General StudiesKaja Tooming Buchanan

Foundation Petra Soesemann, Chair

Kim Bissett

Barbara Chira

Richard Fiorelli

Kidist Getachew

Adam Kadar

Kevin Kautenburger

Scott Ligon

Lorri Ott

Mark Moskovitz

Barbara Stanczak

Royden Watson

Christian Wulffen

Liberal ArtsJoyce Kessler, Chair

Charles Bergengren

Shelley Bloomfield

David Carrier

Diana Chou

Adina Davidson

Rita Goodman

David Hart

Maureen Kiernan

Diane Lichtenstein

Olatubosun Ogunsanwo

Jonathan Rosati

Gary Sampson

Franny Taft

Dan Tranberg

Allen Zimmerman

Craft + Material CultureGretchen Goss, Chair

Ceramics

William Brouillard

Judith Salomon

Enameling

Gretchen Goss

Glass

Brent Young

Sungsoo Kim

Jewelry + Metals

Kathy Buszkiewicz

Matthew Hollern

CIA Faculty

DesignDaniel Cuffaro, Chair

Industrial Design

Dan Cuffaro

Matt Beckwith

Carla Blackman

Ed Covert

Dennis Futo

Mike Jaeb

Bob Martinez

Douglas Paige

Anthony Santarelli

Adrian Slattery

Interior Design

Michael Gollini

Sherri Appleton

George Gatta

Scott Richardson

Laura Wolf

Communication Design

Mari Hulick

Lizzy Lee

Michael Lehto

Eugene Pawlowski

Christopher Ramsay

Danielle Rini-Uva

Integrated MediaKristen Baumlier, Chair

Biomedical Art

Amanda Almon

Beth Halasz

Thomas Nowack

Ross Papalardo

David Schumick

Photography

Barry Underwood

Matthew Fehrmann

Nancy McEntee

Mary Jo Toles

Illustration

Dominic Scibilia

John Chuldenko

Igal Hurvitz

Larry O’Neal

T.I.M.E.–Digital Arts,

Animation, Game Design,

Video

Kristen Baumlier

Nicholas Economos

Megan Ehrhart

Knut Hybinette

Kasumi Minkin

Sarah Paul

Visual Arts + TechnologiesSaul Ostrow, Chair

Drawing

Sarah Kabot

John Powers

Painting

Lane Cooper

Saul Ostrow

Tommy White

Printmaking

Maggie Denk-Leigh

Fiber + Material Studies

Christina Cassara

Bill Lorton

Sculpture

Charles Tucker


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

that story through their work and accomplishments. For more than 120 years,

CIA alumni have launched incredible careers, prolific studio practices and

innovative design firms. From the American Da Vinci, Viktor Schreckengost

’29, to Illustration grad Marc Brown ’69, to groundbreaking painter Dana Schutz

’00 and Industrial Design grad Brian Peterson ’09 —if their names don’t seem

familiar, their work will. Take a look through the following pages, see what

they’ve accomplished and meet some of our more recent grads.

This year we caught up with some alumni in their New York studios.

Take a look at their videos and see how they’ve built their creative careers

on our website at cia.edu/alumniprofiles.

CIA Alumni

205

M a rk Re i g e l m a n S c u lp t u re 2 0 0 6 T h u T ra n G l a s s 2 0 0 5 Va le r i e M aye n I l lu s t r at io n 2 0 0 5

Ph

oto

: Gu

s Ch

an

, Th

e P

lain

De

ale

r206 207

Vi k to r S c h re c ke n g o s t D e s i g n 1 9 2 9

208 209

Jo h n S p i rk + Jo h n Not t i n g h a m I n du s t r i a l D e s i g n 1 97 2

Ju l i a n S t a n c z a k P a i nt i n g 1 9 5 4 C h a rle s S a l le e A r t E duc at io n 1 9 3 8

210 211

M a rc B row n D r aw i n g 1 9 69 S c ot t R i c h a rd s o n I nte r io r D e s i g n 1 9 91

C h r i s t i B i rc h f i e l d P r i nt m a k i n g 2 0 0 6

212 213

K r i s te n C l i f fe l C e r a m ic s 1 9 9 0

B e n G ra s s o P a i nt i n g 2 0 0 4

214 215

D a n a S c h ut z P a i nt i n g 2 0 0 0 C h a rol le t B e c ke t t S c u lp t u re 2 0 0 2

D e re k H e s s P r i nt m a k i n g 1 9 8 8

216 217

campus map

CIA1 Gund Building 2 McCullough Center 3 Taplin House

Resources4 CWRU Bookstore 5 Utrecht Art Store

Food6 Coffee 7 Mamma Santa’s Pizza 8 Presti’s Cafe 9 Qdoba 10 Tea House Noodles 11 Falafel Cafe 12 Food Co-op

Culture13 Cleveland Botanical Garden 14 Museum of Natural History 15 Severance Hall (Orchestra) 16 Cleveland Museum of Art

Nightlife17 Coventry 18 Little Italy 19 Downtown Cleveland

Parking

H Cleveland Clinic

+ University Hospitals

P

H

1

2

3

P

+

P


cleveland + cia campus = your creative hub

Where you’ll live

The CIA community surrounds you with creative-

minded friends and mentors who will help you find

inspiration throughout Cleveland—a city full of cultural

energy, ethnic neighborhoods and an accessible

downtown core on our nation’s “north coast.” As

part of the country’s 16th-largest metropolitan

area, Cleveland is just the right size to offer big-city

benefits along with a close-knit feel.

For your first year at CIA, you’ll live on campus with

your fellow freshmen in Taplin Hall. And you’ll enjoy

meals at Case Western Reserve University dining

halls through a CWRU meal plan. After your first

year, you can move off campus to any of the nearby

neighborhoods. You might find an apartment above

the storefronts of Little Italy, built a hundred years

ago by Italian artisans whose grandchildren still

run authentic bakeries. Or you might commute

by bike from Coventry Village, where funky shops

and restaurants draw a diverse crowd from hippies

to hipsters.

Here, you’re close to some of the city’s best food

and entertainment. Grab pizza or cannoli up the hill in

Little Italy. Or take in a film at the Cleveland Institute

of Art Cinematheque, named one of the country’s

best repertory movie theaters by the New York

Times. The Cinematheque has made its mark locally

and nationally as a unique venue for independent

films, foreign flicks and events for movie buffs.

Make sure to travel into downtown Cleveland, just

five miles from campus, to tour the Great Lakes

Science Center or rock out at the Rock and Roll

Hall of Fame. Are you a sports fan? Cheer on the

Cleveland Indians, Cavaliers, or Browns at their

downtown stadiums.

But as great as our city is, we know you’ll spend

much of your time in the studio. That’s why our Office

of Student Life organizes activities to make sure you

take a break sometimes—whether it’s laser tag, ice

skating, or a comedy act. Plus each year you’ll look

forward to the wildly creative Halloween costume

party and the year-end Pink Pig student picnic.


Where you’ll learn

Our campus is located in the cultural heart of the

city, known as University Circle. Packed into one

square mile are more than 20 of the region’s most

prestigious cultural institutions. We consider many of

our neighbors to be an extension of our classrooms:

Liberal Arts students experience art history at the

Cleveland Museum of Art. Game Design students

develop prototypes with computer programmers at

Case Western Reserve University. And Biomedical

Art students study exotic plants and animals in the

Cleveland Botanical Garden.

We are committed to helping you become an

integral part of the greater Cleveland community.

So we connect you with opportunities to give back

and help out. Last year, for example, some of our

students partnered with MetroHealth to lead quilt

panel-making workshops so local families could

honor loved ones through the AIDS Memorial Quilt.

And each year some even go on alternative spring

break trips—like working with Habitat for Humanity

in New Orleans—where they give their time and

talents to great causes.

Where you’ll show off your work

No matter how much you enjoy your time in the

city, though, we never forget why you’re at The

Cleveland Institute of Art: to become a practicing

artist or designer. You need not only instruction

and inspiration, but also real-world experience

and exposure. So we offer multiple opportunities

throughout the year for you to exhibit on campus

and around town. You’ll become a pro at

presenting your work and you’ll build ties along

the way with professionals in Cleveland’s art

and design community.

Student Independent Exhibition:

Each winter, CIA students present their annual

Student Independent Exhibition in the Reinberger

Galleries. Organized, promoted and curated entirely

by students, this juried exhibition showcases work

from across CIA’s majors—and it offers community

members the opportunity to acquire your work

for their own collections.

BFA Thesis Exhibition: Preparation for your

capstone BFA review threads throughout your entire

senior year. You’ll develop a concept at the beginning

of the year and have mid-year progress reviews

before winter break. Finally, in BFA week at the end

of the spring semester, you’ll display your thesis

exhibition and present an hour-long defense of your

mature body of creative work.

Spring Show: This campus-wide student exhibition

presents an unparalleled range of ideas, materials

and technologies to the University Circle community.

The artwork is displayed at various Cleveland

locations organized by Environments, or groups of

majors: Foundation, Design, Craft + Material Culture,

Integrated Media and Visual Arts + Technologies.

Best of all, many employers and collectors visit the

spring show to see your work.

Coventry Center: You might have a chance to

exhibit your work off-campus at this art center,

maintained by the Visual Arts + Technologies

Environment in former retail space on Coventry Road.

The Coventry Center hosts CIA classes during the

week and workshops, artists talks, student-curated

exhibitions and public art events on weekends.

Studio Spaces: We give all students their very

own studio space to customize. You’re free to

fill it with whatever inspires you—posters, paint,

tools, magazine cut-outs, t-shirts, stuffed animals,

pictures of friends—or nothing at all. And each

department proudly displays student work

throughout its studio area.

Community Partnerships: Many of our

neighboring institutions partner with us to host

student-run shows or shows that include your

artwork or designs. For instance, three times a

year, an art history graduate student from Case

Western Reserve University curates an exhibit

at the Cleveland Foundation featuring the work

of CIA students. Our students’ artwork hangs

in the Mandel Building on the CWRU campus.

And the Peter B. Lewis Collection, a surprisingly

extensive contemporary art collection managed

by the chairman of Progressive Corporation,

offers internships to our students and often

acquires their artwork.


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

Approximately 500 undergraduate

students from across the globe

attend the Institute.


Applying to a college can be a daunting

task. That’s why we believe very strongly in

providing a personal approach at this most

important time of your life. We encourage

you to contact us early in your college search

so that we can help you prepare the best

possible application.

Contact us and we’ll put you in touch with

an Admissions Counselor. They’ll answer

any questions you have and confirm if your

application and portfolio meet our submission

requirements. In addition to your portfolio,

you will be assessed on your academic

and leadership potential.

For details on each part of the process

contact an admissions counselor at

1.800.223.4700 or visit our website

at cia.edu/admissions.

Visit us! It’s not required, but we encourage it and

welcome the opportunity to meet you and review

your portfolio in person. When you visit, you can

tour our campus, meet our faculty artists and see

our students at work in their own studio spaces.

To schedule your visit, go to

cia.edu/admissions or call the Office

of Admissions at 1.800.223.4700.

Submit the following to the

Office of Admissions:

1. The application (available

online at cia.edu/admissions)

2. The $30 application fee

3. A personal statement outlining

why you’re applying

4. High school/college transcripts

5. A letter of recommendation from

an art teacher or counselor

6. Your scores on the SAT or ACT

7. Your portfolio

Important Dates

To receive the maximum consideration for

admission, financial aid and merit scholarships,

you should adhere to the following application

deadlines for the fall semester:

Early Action 1: December 1

Early Action 2: January 15

Regular Decision: March 1

To receive maximum consideration for financial aid,

your financial aid applications should be submitted

by March 15 of the applicable year.

Students wishing to compete for mid-year

(spring semester) scholarships should complete

applications no later than January 1.


We also consider your portfolio to be an important

asset in the development of your career. It informs

us of your artistic experience, education and talent.

You’ve spent a long time preparing for this moment

and the following guidelines will help you to create

a portfolio that best reflects your work.

Portfolio Review

The Admissions Committee will evaluate your

portfolio and will assess your technical abilities,

conceptual problem-solving skills and your use of

your chosen mediums. Schedule an appointment

with one of our Admissions Counselors for a

preliminary portfolio review. A campus visit and an

appointment with one of our counselors can provide

feedback on your current work and guide you as you

work towards your best possible portfolio.

Additional admission requirements, including your

academic credentials, personal statement and

letter of recommendation, will be considered upon

completion of your application for admission.

Build Your Portfolio

Your portfolio must be submitted in CD or DVD

format. If you are unable to provide a portfolio

in these formats, please contact the Office of

Admissions for assistance. We do not accept actual

artwork of any kind. Your portfolio should include

no less than 12 and no more than 20 pieces of your

original artwork. Please do not send more than 20

pieces. This number will give us enough information

to make an accurate assessment of your abilities.

At least four of those pieces must be drawings

from observation.

Your portfolio is the cornerstone of your application to The Cleveland

Institute of Art and is a significant part of the admission decision.

Your Portfolio

Observational drawings include still life, gesture,

or figure drawings, portraits and landscapes. We

encourage you to feature your strongest pieces

made in your junior and senior years. Portfolio pieces

can take many forms including (but not limited to)

drawings, paintings, prints, photographs, sculptures,

mixed media and/or found-object pieces, computer-

generated works, illustrations, animations and

clay, metal or glass objects.

Work copied from photographs or other published

works do not make strong portfolio pieces. If you

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

inspiration for your work. The order in which you

present your work can have a significant effect on

your portfolio review, therefore we suggest you

end your presentation with your strongest piece.

Relationships in color, media, composition and

concept can link one piece to another and help

your portfolio flow in a cohesive manner.

CD or DVD

Discs should be labeled with the following:

• Applicant’sfullname

• Homeaddress

• Phonenumber

• Emailaddress

1. Individual files should be in JPEG ( jpg) format

with a file size not exceeding 1MB each.

2. Animation or video work must be submitted

in either QuickTime (.mov) format or Windows

Media Video (.wmv) format.

3. It is preferable that images be assembled

and presented in a slide show format,

using PowerPoint, Acrobat, or another slide

show application.

4. Please submit a numbered list in Microsoft

Word on the disc with the title, size, medium

and a brief description of each piece.

5. Please do not stick any labels to the front of the

CD; mark directly on it with permanent marker.

Go to cia.edu/admissions for more information

on photographing your work and preparing your

portfolio. Or contact an admissions counselor at:

1 .800. 223.4700.

Note: No application items will be returned and it is recommended you keep an original copy of your submission for your records.


Financing Your Education

We work with you to craft a personalized financial

aid package that combines any available CIA-

sponsored aid, federal aid, scholarships, loans,

workstudy and more. Once you have received

an acceptance letter from CIA you may be eligible

for federal financial if you:

• are a U.S. citizen• have a high school diploma or general

equivalency credentials (the GED)• have registered for the draft if you are a male

between ages 18 and 26 (see sss.gov)• maintain satisfactory academic progress• qualify for need-based assistance through

the Free Application for Federal Student

Assistance (FAFSA)

If you are a U.S. service member or veteran who

qualifies for Post-9/11 GI Bill funds, CIA offers a

significant amount of supplemental funds through

the Yellow Ribbon Program. For details, contact

us or visit gibill.va.gov.

The Institute awards your financial aid package

according to your need-based eligibility, which

is calculated by subtracting your expected family

contribution (EFC) from your cost of attendance.

Your cost of attendance (COA) includes more than

just your tuition and housing bills—take a look at

the Cost of Attendance on the next page.

Our review process for financial aid will begin once

we receive two important pieces of information:

• Your completed CIA 2010–11 Application for

Financial Aid, found under the Financial Aid

Forms section at cia.edu/financialaid

• FAFSA Results: the results of your Free

Application for Federal Student Aid (FAFSA),

a federally administered application found at

fafsa.gov (CIA’s FAFSA code is 003982)

Through the FAFSA process you will be assigned

an estimated financial contribution (EFC). Your EFC

is based on a standard formula established by

Your education is an investment in your future as an artist and when you

enroll at The Cleveland Institute of Art, you’re getting the very best education.

Our Office of Financial Aid is committed to helping you find ways to close the

gap between the cost of attending CIA and your ability to fund this education.

As you begin to make important choices, please keep in mind: 98% of CIA

students receive financial assistance

$30,840

2,082

6,326

4,630

43,878

2,000

2,000

45,878

Pe

r Y

ea

r

Tuition

Estimated fees

Room (On-Campus)

Board (On-Campus)

Direct Costs Subtotal

Books & Supplies (Estimate)

Indirect Costs Subtotal

Cost of Attendance Total

Your transportation and personal expenses can be included in your cost of attendance and factored into your eligibility depending upon how far you live from Cleveland or the amount of personal expenses you expect to incur. We estimate the average annual cost of travel to be $1,400 and personal expenses to be $1,940. If these amounts match your personal situation, then you would add them to the overall cost of attendance listed above, bringing your estimated cost of attendance to $49,218.

The cost of attendance for 2010–11 will be available at cia.edu/financialaid as soon as rates become official. Note that if you receive financial aid that exceeds your direct costs, you will be refunded the excess to help pay for your indirect college expenses.

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

financial strength. The direct and indirect costs of

your CIA education comprise your cost of attendance

(COA). Through the FAFSA process you will be

assigned an expected family contribution (EFC).

Your eligibility is determined by subtracting your

EFC from your COA.

Putting Costs into Perspective Your cost of attendance includes more than tuition

and housing bills. Our financial aid calculations

account for costs that are both direct and indirect:

Direct costs are billed directly from CIA. Direct costs

include tuition, institutional fees and on-campus

room and board (off-campus room and board costs

and are considered indirect).

Indirect costs are items not charged to your CIA

account, such as books and supplies, transportation

and personal and other fees, are considered part of

your COA budget for financial award determinations.

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

can reduce these figures by combining multiple

means such as financial aid, student work-study

programs, scholarships, grants and loans.


Resources for Tuition Support

Scholarships

Scholarships, which are usually based on special

qualifications or merit, do not need to be repaid.

You are automatically considered for CIA merit-

based scholarships if you complete your FAFSA.

There are no extra application procedures for

CIA merit-based scholarships. Many students

combine multiple scholarships to reduce their

cost of attendance.

CIA Merit Scholarships

You may compete for a renewable merit

award based on the strength of your portfolio

and academic achievement. The following

awards range from several thousand dollars

to full tuition annually:

• CIA President’s Scholarship• CIA Provost’s Scholarship• CIA Dean’s Scholarship• Cleveland Institute of Art Grant• External Scholarships

We encourage you to find and apply for external

scholarships to supplement any CIA-based aid

you might receive. To be considered for external

scholarship support, you will need to contact the

funding organization and follow their application

procedures. For example, you might apply for a

scholarship from the Cleveland Foundation. You

can find a list of external scholarship resources

at cia.edu/financialaid.

Work Study

The Federal Work-Study Program allows you to earn

funds for your educational expenses by working at

a part-time campus-sponsored job. To qualify for

this federally funded program, you must demonstrate

need on the FAFSA as part of the yearly Financial

Aid application process. It is your responsibility to

apply for a designated work-study job, which you

can find listed in CIA’s Work Positions Guide. Once

you have located a job opening, interviewed and

been hired, you will work with the Office of Financial

Aid to complete the required paperwork.

School-based financial aid is just one avenue of support that you can apply

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

scholarships, state- and federal-based financial aid programs, student work

study programs and private or public loan programs. A brief discussion of

each area is contained below along with additional references where you

can find further explanation and opportunities.

Grants

You do not have to repay grants, which are based

on financial need. Once you complete your FAFSA,

you are automatically considered for grant funds.

There are no additional application procedures

for grant consideration. The following grants are

available through Institutional, Federal and State

of Ohio Financial Aid programs.

• Federal Pell Grant: The government uses

your FAFSA to determine your eligibility

for this grant.

• Federal Academic Competitiveness Grant:

To receive this grant, you must be eligible for

the Federal Pell Grant, enrolled full-time in your

first and second academic years (with a 3.0

GPA) and graduated from a rigorous high

school program of study.

• Federal Supplemental Educational

Opportunity Grant: This campus-based grant

program offers limited funding to Pell Grant–

eligible students who demonstrate exceptional

financial need as determined by the FAFSA.

• CIA Grants: The Cleveland Institute of Art

awards grants to students with exceptional

talent, academics, or need, based on

information submitted to the offices of

Financial Aid and Admissions.

• Ohio College Opportunity Grant (OCOG):

This grant is based on Ohio residency, first

college start date, enrollment status and

FAFSA results. You must complete the

institutional CIA Financial Aid Application

each year to qualify for all state awards.

Loans

An education loan is a form of financial aid that must

be repaid, with interest. Education loans come in

three major categories: federal student loans, federal

parent loans and private student loans (also called

alternative student loans).

When it comes to education loans, parent

PLUS loans and private student loans are often

the primary choices for last-dollar financing

of a college education.

• William D. Ford Federal Direct Loan:

Eligible first-year dependent students may qualify

for up to $5,500 in this low interest student loan

program. Direct loans are either subsidized or

unsubsidized. Subsidized Direct Loans have the

interest paid by the Federal Government while

the student is in school. Unsubsidized Direct

Loans accrue interest while the student is in

school, but students aren’t required to begin

repayment until after they leave school. CIA

uses information from the FAFSA to determine

eligibility for a subsidized or unsubsidized Direct

Loan. Independent students may be eligible

for additional amounts through the Direct Loan

Program. Payment of Direct Loans is deferred

until six months after graduation from CIA.

• William D. Ford Federal Direct PLUS Loan:

PLUS stands for Parent Loan for Undergraduate

Students. Parents may acquire these low-interest

loans for their child attending CIA. PLUS loans

may either be paid back while the student is

in school or deferred until six months after

graduation. A PLUS Loan is a cost-effective

solution for parents to help keep their student’s

debt burden as manageable as possible.

The interest rate for Federal Parent PLUS Loans

is annual fixed interest rate of 7.9% for loans

disbursed on or after July 1, 2010. The interest

rate changes each July 1. For more information

on PLUS Loans, go to cia.edu/financialaid.

• Alternative/Non-Federal/Private Loans:

Private lending institutions offer a variety of

student loan programs. CIA works with private

banks and can assist you with information

on these loans.


Academic Services

At the Cleveland Institute of Art we are committed

to providing our students with the best resources,

inside and outside the classroom. Our Writing

Center, Career Services and Jessica Gund Library

are just three of the many ways we supplement

learning and studio practices.

CIA Writing Center

The Academic Writing Center is a learning support

facility jointly sponsored and administered by the

Liberal Arts Environment and the Academic Services

Office of The Cleveland Institute of Art. At the Center

you’ll receive instructional support for baccalaureate

degree program courses involving writing and

research. In addition we’ll provide you with guidance

on time management and study skills along with

other areas that lead to success in academic life.

You can also participate in a rotating series of small-

group workshops on specific aspects of the writing

process. We welcome students at any time during

Center hours or you can make an appointment

to work with tutors in preparing your academic

writing assignments.

Career Services

We take your career very seriously—whether you

choose to build a studio practice, join an established

business or continue your studies toward an advanced

degree. We are here to provide tools, resources and

strategies to help you reach your goals. We maintain

excellent partnerships with employers in the art and

design world that result in sought after internships

and real-world experience. We recommend that you

pursue internships during your junior and senior year.

You’re encouraged to contact us a semester before

you’d like to pursue an internship so that we can

assess your skills and determine what opportunities

are best for you. At the CIA Career Center we will:

• Help you obtain a credit- or non-credit-

bearing internship

• Manage an on-campus recruiting program

• Connect you with CIA alumni for career

exploration and information

• Give one-on-one career advising

• Assist with resume and cover letter writing

• Coach on interview techniques and job

search skills

• Assist with projects and assignments in the

Professional Practices course

• Provide handouts on job search strategies,

networking and interview techniques

• Provide access to College Central,

an online job board

As a CIA alum you are an important part of our

community and the Career Center is here for you

long after graduation. Contact us at any point in your

career for one-on-one career advising, coaching

on interview techniques and resume writing and

offer tips on job search strategies and networking.

In addition, your access to our online job board,

College Central, will continue as an alum.

Jessica R. Gund Memorial Library

Putting art in context, researching the artists that

came before you and learning more about historic

movements in art and design are important building

blocks of an art and design education. CIA’s

Jessica R. Gund Memorial Library is dedicated

to the specific research needs of the visual artist,

designer and craftsperson. Our collections contain

more than 45,000 books, exhibition catalogs and

CD-ROMs; 145 current periodical subscriptions;

over 125,000 art and architecture slides as well as

access to a broad range of digital images; 1,600

sound recordings; 600 videotapes, DVDs and films;

a picture file for visual reference; access to online

databases and full text resources; and an extensive

collection of “artists’ books” (books made by

artists as art).

Our collections support the Institute’s accredited

degree programs, with a special focus on providing

materials for studio-intensive instruction. The library

documents the major participants, events and trends

of international contemporary art, photography,

craft and design; includes theory and technical

information as well as visual resources; and makes

available a variety of professional, legal and business

information for artists. The library’s collection of

contemporary art publications ranks with the best

American colleges and universities.

The Institute’s collection of artists’ books, begun

in 1982, is a nationally renowned collection. Dating

from the 1960s to the present, this collection of

1,300 books represents the range of books made

by artists from North America and Western Europe.

Some of the classic books in the collection are from

artists such as Carl Andre, Robert Barry, Douglas

Huebler, Edward Ruscha’s Twenty Six Gasoline

Stations, Daniel Spoerri’s Anecdoted Topography

of Chance, Ray Johnson’s Paper Snake, Vostell

and Higgins’ Fantastic Architecture, Agnes Denes’

Map Projections and Martha Rosler’s Service.


Call us at 1.800. 223.4700. We’ll connect you with an admissions counselor to

answer your questions, or connect you with one of our student ambassadors.

Share this book with parents, friends, and teachers.

Schedule a visit so we can show you all that CIA and Cleveland

have to offer you.

Be sure to get a copy of our portfolio tips prior to submitting your portfolio.

We’ll see you in August.

next steps

1 voice your passion

2 ask us

3 make the trip

4 prepare portfolio + application

5 apply: cia.edu/admissions

240 241

IndexAAcademic Services 238–239

Career Services 239

CIA Writing Center 238

Jessica R. Gund Memorial

Library 239

Accreditation & Membership 15

Adanich, Jessica 164

Adorni, Nick 57

Alumni 205–217

Beckett, Charollet 216

Birchfield, Christi 213

Brown, Marc 212

Cliffel, Kristen 214

Grasso, Ben 215

Hess, Derek 217

Mayen, Valerie 207

Nottingham, John 210

Reigelman, Mark 206

Richardson, Scott 212

Sallee, Charles 211

Schreckengost, Viktor 208

Schutz, Dana 216

Spirk, John 210

Stanczak, Julian 211

Tran, Thu 206

Animation 32–39

Apply 230–231

Deadline 231

Schedule a Visit 230

Submitting 231

BBeaufort, Claire 72

Bekoscke, Torianna 107

Bell, Laura 150

BFA Thesis Exhibition 227

Bible, Rebecca 114

Biomedical Art 40–47

Bristow, Amanda 130, 154

Building Your Portfolio 232

CCampanella, Antonia 50

Campus Map 218

Campus Overview 224–225

Career Services 239

Ceramics 48–55

Chepke, Julia 85

Communication Design 56–63

Community Partnerships 227

Cost of Attendance 235

Coventry Center 227

Creative Edge 198

Creative Hub 224–227

Cumming, Justin 113

DDiSalvo, Adrienne 132

DiVita, Ryan 151

Drawing 64–71

Drmota, Megan 147

Dujmovic, Tina 65

EEarly Action Dates 231

Eiser, Martin A. E. 144

Elek, Tim 36

Enameling 72–79

Environments 15

FFaculty 187-203

Baumlier, Kristen 188, 203

Cassara, Tina 194

Cuffaro, Dan 189, 203

Denk-Leigh, Maggie 190

Getachew, Kidist 202

Gollini, Michael A. 195

Goodman, Rita 24

Goss, Gretchen 196, 202

Hulick, Mari 191

Kessler, Joyce 197, 202

List by Department 202–203

Ostrow, Saul 192, 202

Soesemann, Petra 202

Young, Brent Kee 193

Faculty Partnerships 200

Faculty Residencies 198

Fiber + Material Studies 80–87

Financial Aid 234–237

Foundation 16–23

GGame Design 88–95

Garrigan, Ivy 83

Geigel, Katie 115

Getachew, Kidist 180

Glass 96–103

Glick, James 156

Goto, Yumiko 55

Graphic Design 56–63

Grants 237

Green, Amy 76

Greiner, Josh 118

Groh, Sarah 149

Grove, Slate 103

Guhde, Jeffrey 161

Gulan, Nicholas 66

HHaines, Alex 133

Hanson, Samantha 138

Hardink, Brion 9, 163

Hardy, Dana 87

Harris, Warren 179

Hemphill, Lauren 32, 39

Khalil, Nemat-Allau 148

Hippler, Alexis 45

Holtzinger, Adam 97, 98

Horner, Melissa 52

Houry, David 34

Howat, Ellen 44

Hric, Mike 100

IIllustration 104–111

Industrial Design 112–119

Inman, Brooke 152

Interior Design 120–127

JJessica R. Gund Memorial

Library 239

Jewelry + Metals 128–135

Johnson, Bryan 116

Joki, Andrea 155

Jurkiewicz, Laura 101

KKennedy, Jacquie 19, 79

Kinsley, Ben 181, 182

Knapp, Wendy 47

Kuhar, Andrew 89, 94, 172

LLeitten, Sarah 173

Liberal Arts 24–31

Loans 237

Loesel, Katie 157

MMagerkurth, Kristen 22

Maibach, Ryan 112

Mazuranic, Antonia 139, 143

Marks, Michael 68

Marzella, Trevor 58

Mason, Kara 63

McKenzie, Amanda 122

Merit Scholarships 236

Morsch, Alexander 70

Mote, Stephanie 18

Munchoff, Mike 126

NNext Steps 240

Nydza, Nicole 82

OObando, Jessica 60

PPainting 136–143

Palmer, Matthew 140

Parland, Katie 62

Pearce, Brad 99

Peigowski, Stephanie 53

Photography 144–151

Pope, Carl 31

Portfolio 232

Building Your Portfolio 232

Questions 233

Review Process 232

Submitting a CD or

DVD 233

Printmaking 152–159

Programs & Majors 14–183

Animation 32–39

Biomedical Art 40–47

Ceramics 48–55

Communication

Design 56–63

Drawing 64–71

Enameling 72–79

Fiber + Material

Studies 80–87

Foundation 16–23

Game Design 88–95

Glass 96–103

Illustration 104–111

Industrial Design 112–119

Interior Design 120–127

Jewelry + Metals 128–135

Liberal Arts 24–31

Painting 136–143

Photography 144–151

Printmaking 152–159

Sculpture 160–167

T.I.M.E.-Digital

Arts 168–175

Video 176–183

Promersberger, Brandon 23

RRauschenberger, Andrew 67

Rifkin, Liza 77

Robles, Kira 146

Roush, Adam 109

Ruccella, Brittany 86

Rush, Matt 124

SSanders, Dorian 171

Sand, Chadd 35

San, Jessie 46

Sarama, Brian 51

Savage, Mary 74

Schedule a Visit 230–231

Scholarships 236

Sculpture 160–167

Shank, Carolyn 106

Shelton, Rachel 158

Simmering, Zack 113

Sladek, David 111

Smith, Danielle 131

Snowden, Alexandra 84

Spencer, Charmaine 165, 166

Spring Show 227

Spoerndle, Thomas 142

Staiger, Elizabeth 128, 135

Steward, Darius 71

Stibitch, Scott 162

Storie, Jack 110

Strasser, Andrew 181

Student Independent

Exhibition 226

Studio Spaces 13, 227

Sustainable Design 201

TT.I.M.E.–Digital Arts 168–175

Tuition 235

Cost of Attendance 235

Direct Costs 235

Indirect Costs 235

Tuition Support 236–237

Grants 237

Loans 237

Merit Scholarships 236

Scholarships 236

Work Study 236

Turner, Kaley 75

UUeda, Yu 168

University Circle 226

VValasco, Liz 159

Video 176–183

WWiden, Katherine 137

Wilhelm, Hannah 42

Wiser, Jim 93, 95

Work Study 236

Writing Center 238

YYellow Ribbon Program 234

ZZarobell, Richard 134

Zhou, Quan 117

B a c k C ove r: S e a n S we e n e y ’ 10

242 cia.edu/admissions Color Photography: Rob Muller / Design: TWIST Creative, Inc.

THE CLEVELAND INSTITUTE OF ART

11141 East Boulevard Cleveland, OH 44106 USA cia.edu

cia viewbook

Documents

cia students

industrial design students

package design

design education

design firm

cia faculty

graphic design skills

cia alumni