Patricia Osler – författare

From the perspective of art educators, museum education is shifting to a new paradigm, which this collection showcases and marks as threshold moments of change underway internationally. The goal in drawing together international perspectives is to facilitate deeper thinking, making and doing practices central to museum engagement across local and global contexts.Museums as cultural brokers facilitate public pedagogies, and the dispositions and practices offered in 33 chapters from 19 countries articulate how and why collections enact responsibility in public exchange, leading cultural discourses of empowerment in new ways. Organized into five sections, a wide range of topics and arts-based modes of inquiry imagine new possibilities concerning theory-practice, sustainability of educational partnerships and communities of practice with, in and through artwork scholarship. Chapters diverse in issues, art forms and museum orientations are well-situated within museum studies, enlarging discussions with trans-topographies (transdisciplinary, transnational, translocal and more) as critical directions for art educators.Authors impart collective diversity through richly textured exposés, first-person accounts, essays and visual essays that enfold cultural activism, sustainable practices and experimental teaching and learning alongside transformative exhibitions, all while questioning – Who is a learner? What is a museum? Whose art is missing?

From the perspective of art educators, museum education is shifting to a new paradigm, which this collection showcases and marks as threshold moments of change underway internationally. The goal in drawing together international perspectives is to facilitate deeper thinking, making and doing practices central to museum engagement across local and global contexts.Museums as cultural brokers facilitate public pedagogies, and the dispositions and practices offered in 33 chapters from 19 countries articulate how and why collections enact responsibility in public exchange, leading cultural discourses of empowerment in new ways. Organized into five sections, a wide range of topics and arts-based modes of inquiry imagine new possibilities concerning theory-practice, sustainability of educational partnerships and communities of practice with, in and through artwork scholarship. Chapters diverse in issues, art forms and museum orientations are well-situated within museum studies, enlarging discussions with trans-topographies (transdisciplinary, transnational, translocal and more) as critical directions for art educators.Authors impart collective diversity through richly textured exposés, first-person accounts, essays and visual essays that enfold cultural activism, sustainable practices and experimental teaching and learning alongside transformative exhibitions, all while questioning – Who is a learner? What is a museum? Whose art is missing?

This collection considers how Canadian art educators are engaging with a new range of approaches to museum education, and why educators are responding to 21st century challenges in ways that are unique to Canada.Organized into three sections, this collection reconceptualizes museums to consider accessibility, differences in lived experiences, and how practices create impactful change. With the overarching concept of relationality between art museums and interdisciplinary perspectives, authors consider methodological, philosophical, experiential and aesthetic forms of inquiry in regional museum contexts from coast-to-coast-to-coast that bring forward innovative theoretical standpoints with practice-based projects in museums, articulating how museums are shifting, and why museums are evolving as sites that mediate different and multiple knowledges for the future. Informed by social justice perspectives, and as catalysts for public scholarship, each chapter is passionate in addressing the mobilization of equity, diversity and inclusivity (EDI) in relation to practices in the field.By weaving the learning potential of interacting with artworks more fully within situated and localized social and cultural communities, the authors present a distinct socio-political discourse at the heart of teaching and learning. Rupturing preconceived ideas and sedimentary models, they suggest a discourse of living futures is already upon us in museums and in art education.