Some time ago, I had the privilege of speaking with Professor Robert W. Sweeny about digital and art education. He shared many fascinating insights—read them below.

In today’s rapidly evolving world, digital media continues to reshape how we learn, teach, and create. To explore these intersections, I sat down with Robert (Bob) Sweeny, a professor of art education at Indiana University of Pennsylvania. With nearly two decades of experience, Bob is not only a leader in his field but also the founder of the Digital Visual Study Research Group. His latest book, Digital Visual Art Education: Making, Learning, and Teaching Through Digital Media, delves deep into the complexities of integrating digital media into art education.

In this interview, Bob shares his perspectives on the current landscape of digital and post-digital practices, the cultural shifts in art education, and his personal creative endeavours. The discussion moves fluidly from the academic to the personal, revealing the multifaceted nature of his work and his unique approach to teaching and research.

INTERVIEW

Tomi: Can you tell us a bit about your professional background and how it connects to your research?

Bob: I’ve been at Indiana University of Pennsylvania for almost 20 years, coordinating the art education program. My research focuses on the intersection of digital media and education, exploring how technology reshapes creative practices. In 2020, I founded the Digital Visual Study Research Group, a collaborative initiative involving artists and educators from K-12 and higher education. Our work is interdisciplinary, spanning media studies, cultural theory, and design, among other areas.

Tomi: Your book sounds genuinely fascinating. Can you tell me a bit more about it?

Bob: The book addresses the complexities of teaching and learning through digital media, aiming to reach art educators, media instructors, and even design professionals. One of its key goals is to emphasise the diversity of digital media practices and encourage interdisciplinary approaches. It’s not just about mastering tools like Photoshop or Procreate—it’s about understanding the broader sociocultural and theoretical contexts that underpin these technologies. For example, I explore how educators can use contemporary digital artists’ work to inspire students while fostering critical conversations about the implications of digital media.

Tomi: What do you hope readers take away from it?

Bob: I hope they see digital media as more than just tools for creation. It’s about engaging students in discussions about ethics, cultural impact, and the processes behind what we produce. For instance, AI tools like DALL-E offer fascinating creative possibilities, but it’s crucial to explore the systems and ideologies shaping those tools.

Tomi: How do you see art education evolving in the digital age?

Bob: There’s a noticeable trend toward balancing digital and traditional practices. Many students, especially after the pandemic, are rediscovering the tactile joy of working with materials like clay. This shift reflects a need for physical connection after years of virtual interaction. However, it’s also essential to contextualize digital practices critically. For example, students often use tools like Procreate without reflecting on the broader cultural implications of these technologies. Art educators can guide them to see the connections between digital media, traditional art forms, and societal shifts.

Tomi: You’ve also worked on personal creative projects, such as Flirting After 50. How does that tie into your academic work?

Bob: Skateboarding has been a lifelong passion, and Flirting After 50 is a reflective project documenting my experiences as an older skateboarder. While it’s not explicitly pedagogical, it connects to themes of cultural identity and creative expression. Skateboarding culture has influenced my understanding of visual culture, from the graphics on decks to self-published zines. These experiences often inform my academic perspectives, even if indirectly.

Tomi: What advice would you give to educators incorporating digital media into their teaching?

Bob: Start with familiar tools and build from there. Educators often focus on the pragmatic aspects of digital media—how to use them in the classroom—but I encourage them to think critically about the broader implications. Engage students in conversations about the ethics of digital creation, the cultural histories of these tools, and their societal impact. It’s not just about making—it’s about understanding.

Tips from Bob:

Digital Visual Art Education: Making, Learning, and Teaching with Digital Media

Digital Visual Studies - www.digitalvisualstudies.net