This article investigated the multifaceted role of artists in educational programmes, focusing on the challenges they face while balancing their identity as artist-teacher, artist teacher, artist-educator, and artist educator. This research was conducted in two phases. Phase one interrogated the effectiveness of artists taking on dual roles as both artists and educators/teachers within international and New Zealand's educational programmes. This phase advocated for artists to embrace their original role as artists without the additional burdens of other roles. Moving to phase two, this research employed the method of document analysis to investigate the historical and current engagement of artists in students' museum education within the context of New Zealand. Historically, artists were considered as art technicians with no direct involvement in art teaching or creation. Although the current LEOTC and ELC programmes in New Zealand value artists' contributions to art education, they do not indicate artists' involvement in these two programmes. Drawing from the findings of phase one and two, the study proposed a novel model that emphasises the integration of three elements: learning environment (art museum), people (artists), and objects (artworks). This model suggested that the combined action of these three elements could lead to a transformation from teacher-led teaching to student-centred learning in art education. Such a transition held the potential to enrich students' educational experience through collaborative efforts between artists, museum educators, and schoolteachers, and also enhance students' interdisciplinary learning experiences.

中文翻译：

---

探索访问艺术家在艺术教育项目中的双重角色和限制

本文调查了艺术家在教育项目中的多方面作用，重点关注他们在平衡艺术家教师、艺术家教师、艺术家教育者和艺术家教育者身份时所面临的挑战。这项研究分两个阶段进行。第一阶段质疑艺术家在国际和新西兰教育项目中扮演艺术家和教育家/教师双重角色的有效性。这一阶段主张艺术家接受他们作为艺术家的原始角色，而无需承担其他角色的额外负担。进入第二阶段，本研究采用文献分析的方法来调查新西兰背景下艺术家在学生博物馆教育中的历史和当前参与情况。从历史上看，艺术家被认为是艺术技术人员，不直接参与艺术教学或创作。尽管新西兰目前的LEOTC和ELC项目重视艺术家对艺术教育的贡献，但并没有表明艺术家参与这两个项目。借鉴第一阶段和第二阶段的研究结果，该研究提出了一种新的模式，强调学习环境（美术馆）、人（艺术家）和物体（艺术品）三个要素的整合。该模型表明，这三个要素的结合作用可以导致艺术教育从教师主导的教学向以学生为中心的学习的转变。这种转变有可能通过艺术家、博物馆教育工作者和学校教师之间的合作来丰富学生的教育体验，并增强学生的跨学科学习体验。