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Social and emotional learning (SEL) standards and policies are quickly being adopted across the United States. States and school districts are now requiring demonstrations of SEL in schools and hoping for evidence that school subjects, including art education, can successfully meet those requirements and provide that evidence. This article reports the results of a review of research on the relationship between art education and SEL for three purposes: (1) to illustrate the process of a systematic review of research in a small field, (2) to propose a foundation on which researchers can build, and (3) to map empirical research results about preK-12 SEL in art education for instructional practice. The article contributes to research by offering an instrument to aid systematic reviews in the field. It also summarizes the conclusions of the found empirical research articles on SEL in preK-12 art education contexts.

This paper serves as an exploration into the landscape of social media use in educational research as it relates to urban youth in the United States. Initially, a social and learning context is provided that situates the implications social media may have for urban youth within formal and informal educational spaces. The paper offers a discussion of social media and recent studies in educational research as they relate to formal and informal learning spaces followed by implications of social media for these environments. A case is presented to reconceptualize a teaching and learning process with that of a social media process thereby connecting both the formal academic space with the informal emergent educational space afforded by social media. To this point we have attempted to establish a social context of education for urban youth.

In this research reflection, we develop a portrait of our engaged pedagogy for teaching educational foundations classes in teacher education. Our engaged pedagogy--based on autobiography and self-disclosure traditions-- emphasizes instructors and students' self-disclosure of lived experiences as being central to practical curriculum in teaching educational foundations. In developing this portrait of our teaching, we use topical narrative that provides a unique fit for studying practical curriculum and students' responses. After discussing topical narrative as research methodology, we identify narrative patterns that emerged in our study with preservice teachers: searching for and finding words, opening eyes in relation to broader issues, and reconsidering worldviews. In continuation, we discuss "disclosure on disclosure," which identifies benefits of working through autobiography and disclosure traditions alongside limits that emerge in practice. We conclude by emphasizing the importance of initiating a practical discussion on teaching foundations as a key area of professional activity in teacher education.

As new media emerge in the common culture, the authors recommend that art educators adopt those media to facilitate deep understanding of visual culture and literacy. They report here on applications of an online image gallery that helps users develop ways to interpret what they see and compose. Over the past few years the authors have collaborated on an online image gallery, entitled "Seeing Culture," with the goal of providing a context in which to encourage students to build their awareness of visual literacy as well as a means for them to explore possibilities for such shared online spaces to support their own instruction. "Seeing Culture" is a proprietary online image gallery that is closed to unregistered users. In this article they (1) outline the origins and purposes of the online image gallery "Seeing Culture"; (2) analyze their use of "Seeing Culture" based on data they gathered from users; and (3) offer a set of points for consideration by art educators interested in the possibilities of "Seeing Culture" and other online image galleries. (Contains 2 tables.)

This Instructional Resource is based on the authors' current efforts as part of an interdisciplinary project where artists, community members, engineers, social activists, and educators are working together to make positive change in people's lives. Water, as a subject, symbol, and life-sustaining substance, is the focus of their work and the interdisciplinary curriculum it has inspired. They have found that interdisciplinary approaches in partnership with inspiration from real life social issues can provide a central point of focus for a series of meaningful learning experiences that relate to current interests in global and green movements, sustainability, and contemporary social projects. In this article, the authors describe an interdisciplinary learning experience incorporating art, global "green" ecology, and multicultural/social issues that engages high school students in a study and design project to create water receptacles. (Contains 5 online resources and 1 endnote.)

In this graphic representation, two characters/caricatures discuss, contemplate, and fantasize the history of the field of art education, its current state, and future manifestations. The conversation is illustrated around the possible reconceptualization of art education. Through text and visual metaphors, the philosophical beliefs, theoretical formations, and discursive territories of the reconceptualization of art education and the critically compatible frameworks that inform its likelihood are drawn together. Major themes and movements such as visual culture, arts based research, community-based pedagogy, environmental and eco-art education, and lacanian psychoanalytic theory are sketched out. (Contains 14 endnotes.)

Technological media catapults our perception into what Marshall McLuhan called "new transforming vision and awareness." As our lives become more and more immersed in such technologies as television, film, and interactive computers, we find ourselves inundated with a heightened sense of mindfulness--an aesthetic experience made possible through such computer technological characteristics as hyperlinks, hypermedia, and hyperreality. In these terms, the prefix "hyper" represents various linking devices inherent to computer technology that allure and transport us between, above, below, and toward vast areas of information, places, and peoples. Hypermediacy, according to Bob Cotton and Richard Oliver, is "an entirely new kind of media experience born from the marriage of TV and computer technologies. Its raw ingredients can be brought together in any combination. It is a medium that offers random access; it has no physical beginning, middle, or end." In other words, there is no set or static structure inherent in technological media. It is not so much an "anything goes" apparatus as it is an "anything is possible" system. The seemingly vast possibilities inherent to technological media offer us many and alternate views of the world.(Contains 10 figures and 46 notes.)

When interactive computer technology is used in meaningful and connective ways, it both enhances and provokes the focus and purpose of art instruction and learning to be expansive and personally relevant. In this paper, we describe an approach to interpretation and curriculum design that requires users to make visual and conceptual associations among examples of visual culture, works of art, and content from various disciplines for the purpose of making meaning. A theoretical foundation for using hypertext authoring software to promote an empowering form of art education is provided, as are strategies for constructing rich interpretations of works of art and meaningful curricula. The use of hypertext authoring software by teachers and students to create interactive readings and on-going interpretations makes explicit their function as Type II applications. We believe that better ways of teaching and learning result from such interactive, hypertextual experiences with works of art, as they require users to make explicit various connections among various meaningful texts, experiences, and sources.

Teaching for understanding is a traditional goal in education that is enhanced through what curriculum theorists Wiggins and McTighe (1998) called "uncovering." In this article the authors describe the ways that interactive computer technology--hypertext--facilitates this act of "uncovering" as students try out ideas, formulate questions, and rethink previous knowledge to reveal personal connections and associations among complex, abstract, and counterintuitive ideas. Using examples from high school and university graduate and undergraduate art education classes, the authors reveal ways that hypertextual uncovering transforms the traditional "hands-on" practice of teaching and learning in art to a "minds-on" approach that involves explanation, interpretation, application, perspective, empathy, and self-knowledge.