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Never before has the change from face-to-face teaching been so challenged as during COVID-19. In order to understand the present, we turn to the past. The interviewers interviewed Dr. Roger Lee about his first online Art Education program in Canada to shed light on our new day-to-day reality for many of turning to virtual teaching and learning on online platforms.

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This article explores the use of AI-generated art as a way to educate visual art students and teachers about ethical concerns related to artificial intelligence. For example, gender and racial bias in the data sets that artificial intelligence trains on remains a significant concern. Art educators can proactively address these issues by supporting their students in understanding the ethical issues surrounding AI that will continue to arise. We advocate for a posthuman approach to AI, treating it not as a mere tool but as a collaborator in the creative process. Through an examination of AI-artists who critique AI, we show that AI-artmaking has the potential to be a valuable addition to the art classroom, allowing both students and teachers to explore and grapple with the ethical challenges associated with AI.

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Student engagement and empowerment promote active, first-person conversations with national and international scholars and artists through virtual presentations. The process discussed below establishes a procedure for student-directed learning and empowerment. This process can be applied to any publications, internet resources, videos, YouTube conversations, and so much more to develop multinarrative and multicultural learning opportunities. Active learning is evident in student reflections that were collected throughout the Fall 2020 semester. By accepting this process of empowering students through active, authentic learning, changes to the syllabus, curricula, and pedagogy had to be made. There is excitement about the potentiality presented by future students as they engage in a similar process of the analysis of chapters, ongoing Blackboard discussions, and how they approach encounters with scholars and artists through a virtual medium.

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Students from three universities in China and the United States worked together on a portrait painting project called ‘Fusion-Image’. It is meant to get youths trading photos of their peers who live on different continents to make art. In addition to portraiture's ability to shed light on the human, emotional, and spiritual, 'Fusion-Image' goes beyond this to pique and address students' interest in various materials and techniques, including digital painting. At the study's conclusion, many participants expressed gratitude for allowing them to question and trouble previously held biases. The project is a practical experiment on artistic creation that may spark respect and tolerance, it illuminates art education in the context of social responsibility for cultural diversity. This has ramifications for the development of art curricula, for we believe that an attitude free of stereotypes in the classroom will produce more engaging and versatile pedagogical and scholastic outputs. The purpose of this article is to examine how art education for students of different cultures, ethnicities, and regions can help confront cross-cultural issues and, on this basis, enhance thinking about core issues in art, such as tradition, ideas, spirituality, times, and many other matters, based on the work of two art teachers in China and the USA.

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This article presents a personal visit between art teacher/artist, Jamia Weir and Dr. George Szekely, a well known figure in the field of art education and a proponent of “Play Based Art Education.” Weir outlines ideas and sentiments gleaned from a day “picking the brain” of her “art teacher hero.” The conversation took place in the Hudson River Valley in July of 2021.

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In this article, I share my personal process and outcomes while merging traditional art-making methods with emerging technologies to create portraits. Through the creation of eight oil portrait paintings with AI and AR components, I explore questions and meanings surrounding the combination of artificial intelligence (AI) and augmented reality (AR) with conventional art-making tools. I also investigate how emerging technologies, such as AI and AR, can complement traditional artistic approaches like painting and drawing. By conducting interviews, maintaining a journal, and creating the portraits, I delve into the subject, uncovering many contrasts between traditional media and emerging technologies, both in terms of physical and mental aspects. I describe how this combination of media significantly impacted my creative process and the final artworks' outcomes. In conclusion, I contemplate the broader implications of integrating emerging technologies into art classes, and how elementary teachers can utilize and teach these innovations as tools for creating art. This study opens up new possibilities for artistic expression, reflecting on the potential of blending tradition and technology in the realm of art-making.

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Covid introduced constraints into art and art education programming which challenged art programmers and educators to consider the art of the possible. I will draw on my art and teaching practices during that time as well as my stint as emerging curator of the Yukon Arts Centre Youth Gallery to consider how working locally and outdoors, with a view to future use of the artworks made, shaped successful programs. I will share images and reflections from the Winter Garden, the Monster Parade, and interactive works in the Dalton Trail Trail Gallery, considering the following questions: How does making artwork that has a plan for use in public presentation change the art learning environment? What new levels of unanticipated meaning occur when student artwork encounters its wider community? What opportunities did Covid-related constraints open for us, and what should we make sure and carry with us into the future?

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In 2020, I piloted an art project involving a comic jam giving secondary students an opportunity to explore and express ideas related to identity. I would like to share this exciting teaching idea by presenting what I’ve learned about this approach and the research supporting the creation of comic book-style art as a means to help teens answer the question, “Who am I?”. What began initially as a student meet and greet through their comic book-style creations, has evolved to a more complex framework where students consider hybrid identities while creating fictional characters using digital collage. In most instances, students have referred to past or present experiences in order to access their ideas related to identity. Recently, I recognized the importance of future thinking in adolescence, and that perhaps, through making comic book-style art and participating in comic jams, secondary students might also be able to consider a future self. In the process of becoming adults, teenagers must also be asking the question, “Who will I be?”.

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This poem reflects on the author's experience of wearing different "hats" or roles in their life - as an artist, a teacher, and a combination of the two. While they find fulfillment in their artistic pursuits and personal introspection, their role as a teacher comes with bureaucratic responsibilities that can be overwhelming. However, they see the value in combining their artistic and teaching skills to inspire their students and create a sense of community. The poem ultimately highlights the importance of self-reflection and how our experiences and interactions with others shape our identity.