As a visual artist, the author has developed particular responses to the materials that surround her in her studio. In this article, the author considers and reflects on the relationship between objects, the artistic process, and learning within the context of ecological themes. She launches the discussion by considering how objects are…

The historical moment of pandemic isolation is turning into an extended time of distance or hybrid learning, robbing students of regular human interaction. The visual narrative can be of pedagogical significance in reimagining student-teacher connections. Inviting students to visually respond to and record their lived daily experiences can afford…

This article describes practices to cultivate preservice art teachers' critical racial consciousness rooted in critical race theory (CRT) and educational research. The examples in this article build on the unique position and responsibility of art educators to leverage visual culture's expansive power to generate dialectical classroom practice and…

When the pandemic hit in March 2020, the authors were in position to pivot their undergraduate and graduate Print/Paper/Book class to the online environment, having already decided to transition to a hybrid model for summer 2020. The course focus was previously geared toward students developing a practice that could be sustained outside the…

In the present moment, art educators need to facilitate high-quality online learning experiences through the integration of collaborative learning, peer-based feedback, and effective educational technologies. In practice-based visual arts courses, it is also essential to focus on student engagement with the studio processes and material outcomes…

Amid a global pandemic, educators felt overwhelmed by the need to convert to new teaching and learning modalities. Students, too, had to adapt quickly to new ways of acquiring and processing information. The author relates how they needed to learn new technologies and rethink how to deliver content and create meaningful experiences for their…

In this article, a teacher-curator pedagogy is taken to mean an assumption of the role of both educators and curators in the planning, creation, and implementation of teaching units and lesson activities within the context of an online exhibition. For their part, students are engaged in developing the exhibitions and self-directed learning…

Art educators are adept at using images to communicate and spark dialogues. But what happens when the conversations that are needed in classrooms concern topics that are intentionally silenced or repeated so often that contradictions become invisible? The dilemma of visibility is central when talking to students about Whiteness, which White people…

Despite the massive advances in artificial intelligence (AI) alongside the saturation of digital technologies in society, the domain of art education has experienced little change to account for the fact that humans are not the only content creators. Recent movements in art education--including but not limited to visual culture, choice-based art,…

Creative thought leaders and educators have readily invited and challenged humans to harness the imagination as a way to envision otherwise. Ethical teaching and learning processes demand creating equity along a continuum of critical and creative practices (Freire, 1970/2014; hooks, 2009; Love, 2019). Some in the field of art education have taken…

H ow can we integrate art and social studies to advance art teacher education for social justice? This question has guided our collaborative journey as teacher educators at the same institution. At a public university in the southern United States, the first author is an art teacher educator, and the second author is a social studies teacher…

The 2015 passing of Every Student Succeeds Act (ESSA) to replace No Child Left Behind was celebrated within the arts community (Arts Education Partnership, 2017; National Art Education Association, 2017; Walker, 2016) for embracing a "well-rounded education" that explicitly includes the arts in its definition (ESSA, 2015, p. 298). In…

Having researched and considered for some time where the field of art education has been perhaps positions the author to thoughtfully ask, Where we might be going in years ahead? And subsequently, What should the field do to meet with success the challenges it faces in the future? In the fast-paced, ever-changing, systemic world, no one knows with…

During her career as a public university teaching assistant, Ting Fang (Claire) Chien observed many students who were not enrolled in an art degree program ("non-art-major students") struggle with studio art projects. As a result, she developed the Daily Life Object Project (DLOP) to show these students that art is connected to and…

For the past 10 years, Creative Classrooms has partnered with schools to develop learner-centered visual arts programs for students in kindergarten through 8th grade. This program is part of the Children's Arts Guild, a New York City nonprofit. The program works with schools to train art educators through monthly professional development…