Socially Responsive Museum Pedagogy

Art museums in the United States have long been called upon to provide educational and engaging experiences for their visitors; more recently, this expectation has expanded to address the most salient needs of local communities and respond to issues of social inequality. At The Ohio State University's Wexner Center for the Arts, these collaborations are woven into the mission of the institution and serve as a foundation of its educational framework. In this chapter, the authors highlight specific community collaborations between the Wexner Center for the Arts, the Department of Arts Administration, Education, and Policy at Ohio State, and the Columbus, Ohio, community. They suggest that these programs not only individually serve as examples for other institutions and university students engaged in museum education scholarship, but also collectively form a socially responsive museum pedagogy enacted in an ongoing cycle of collaborative inquiry.

SILENCE

This piece identifies some of the unique challenges of the COVID-19 pandemic for non-profit arts administration. It profiles Silence, Guelph a small music venue, art gallery and community space and how we have experienced the pandemic and continue to learn from and grow through the challenges it presents.

Socially Responsive Museum Pedagogy

Art museums in the United States have long been called upon to provide educational and engaging experiences for their visitors; more recently, this expectation has expanded to address the most salient needs of local communities and respond to issues of social inequality. At The Ohio State University's Wexner Center for the Arts, these collaborations are woven into the mission of the institution and serve as a foundation of its educational framework. In this chapter, the authors highlight specific community collaborations between the Wexner Center for the Arts, the Department of Arts Administration, Education, and Policy at Ohio State, and the Columbus, Ohio, community. They suggest that these programs not only individually serve as examples for other institutions and university students engaged in museum education scholarship, but also collectively form a socially responsive museum pedagogy enacted in an ongoing cycle of collaborative inquiry.

Personifying the Musical Establishment

As Auric’s film career continued to expand during the late 1950s and 1960s, he also held more arts administration positions. Perhaps the most important was his continuing presidency of SACEM. After the establishment of the Fifth Republic in 1958, Auric heeded Culture Minister André Malraux’s call for cultural action. With other leaders at SACEM, Auric initiated a series of transformations to the society. After expanding the membership and increasing the benefits to members, he led the creation of a cultural action program that now annually awards more than 50 million euros per year in grants. Auric’s most prominent position, however, was as Administrator of the Réunion des Théâtres Lyriques Nationaux. During his six years running the Paris Opéra and Opéra-Comique, he implemented a number of reforms that restored the Opéra’s financial health.