Many have defined the artist‐teacher, most notable Alan Thornton (2013), who outlines the artist‐teacher as an individual who practices making art and teaching art and is dedicated to both activities as a practitioner. However, this definition does not specifically define the artist‐teacher in adult community learning (ACL). This article considers if this definition is applicable to artist‐teachers working in this sector. ACL has its own qualities that set it apart from other educational sectors, such as secondary and higher education, including precarious work hours (Westminster Hall 2021). This article interrogates if these affect the identity of the artist‐teachers working in ACL, and thus how they need to be defined. In this article, several similar terms and definitions are considered for their applicability to the artist‐teacher in ACL and results from artist‐teacher participants in relation to this are analyzed.

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This paper explores the multiple identities held and embodied by a post-graduate research (PGR) student and helps to produce new knowledge about the identity of PGR students. This could have wider implications for the sector by helping to facilitate an understanding of those studying within it.   The results are contextualised with literature from the field of art (Daichendt, 2010; Thornton, 2013), and the identities of the researcher are visualised on networks of enterprises. Networks of enterprises are visual tools for tracking and charting the different enterprises of creative people at work overtime (Wallace & Gruber, 1989). The paper is a reflective piece, with the results written autoethnographically by an artist-teacher-researcher-student. Autoethnographic research can be shared as stories, poems, or performances (Bochner & Ellis, 2016; Pace, 2012). This paper includes autoethnographic vignettes written in a first-person voice. The data were collected through the lived experience of the multifaceted identity. In writing about these experiences, the researcher can explore and gain an understanding of the phenomena of identity as a post-graduate research student. The vignettes are analysed with the published literature and data collected from 17 artist-teachers in Adult Community Learning, to see how their experiences compared to my own. This allows for commonalities and divergences to be identified, and to see if the autoethnographic vignettes are generalisable.