Toward Humanism in Apprenticeships
To a Would-be Apprentice

by John Glick

This article first appeared in Apprenticeship in Craft.
Copyright © 1981 by Daniel Clark Books. All rights reserved.

In this essay I wish to stress the importance of finding a meaningful apprenticeship because an apprenticeship could be one of the most vital phases in a craftsman's growth process. I recognize, however, that all apprenticeships are not created equal.

Perhaps some definitions are necessary before I begin my discussion on apprenticeship. I define a master as a craftsman who has achieved a level of expressive and/or technical expertise combined with a depth of experience, who is capable of guiding another person through exploration in the chosen medium. I define apprentice as a person actively involved in a working studio, under the direct guidance and influence of a master. An employee is defined as a worker who has specified jobs to perform, jobs which usually vary little in scope from day to day. A too casual application of the terms apprentice and employee can cause misunderstandings concerning the process of learning by direct participation in a studio. Too often the label apprentice is applied to almost any job in a studio - possibly to legitimize it. The apprentice candidate therefore must realize, from the beginning of his search for a position, that all openings will not offer the same chances for growth and learning simply because the term apprenticeship is used. A good deal of research and thought by the candidate are necessary before he takes any position; that requires time and care.

It might help to identify some of the general considerations that will have to be examined during the research phase. The master (role model), the studio environment, and the aesthetic climate present are some basic factors that will matter greatly. Naturally, there are people who feel that any apprentice experience under any condition is better than none at all. I do not believe that this is necessarily true. In fact, I favor no apprenticeship at all over one in which the apprentice is never exposed to broad human experiences and values, as well as meaningful studio activity. A prolonged contact with a lifeless job, doing drudgery work for experience, is of questionable value. The fact that such a job experience takes place in a studio setting changes nothing. Often this kind of studio is identified with a poor quality, mass-produced, "handmade" ware geared for a wholesale marketing system. Usually, a line of products and a catalogue are part of the scheme of things.

Such vestiges of real commitment to a craft process in the broad sense are likely to be called by familiar names: studio, craft, apprentice, and so forth. People who take such jobs are apparently seduced by the chance to relate to the superficial trappings of a craft process, but they fail to come away with deep personal, basic skills of the type that will serve them when the time comes to begin on their own. Instead, what is more likely carried away is a license to continue the proliferation of this kind of venture. Sadly, the products and philosophies of any such enterprise are doomed to mimic a poor model and end up by watering down further an already malnourished set of values. The results are readily seen nationwide in hundreds of art fairs and shops.

The idea of selectivity therefore must be central in the approach to your search. I do understand what it means to imagine yourself being particularly selective at this moment, especially when there are hundreds waiting in line for any chance to work in a craft situation. It is the apprentice, however, who stands to lose the most if a poor choice is made. This is your time for learning to absorb and carry away the positive influences you urgently need. The things you care about must be clearly identified and applied as guides as you look at possible apprentice positions. Few people have a chance to correct an unwise choice by finding a better situation later on. Judging the merits of any particular opening will be hard for you as a relative newcomer to the field.

If you accept my premise that there are very few really well-rounded apprentice opportunities, the situation may seem even more extreme. In fact, I may appear to be backed into an idealistic corner on the issue, but these kinds of issues defy clean-cut answers. Obviously, no one can detail a foolproof plan leading to the ideal apprenticeship. I know that part of the entire apprentice concept necessarily involves compromise. The trick is to identify your priorities well enough that when you assess the compromises in a given instance, you can see your chances for survival clearly and then act accordingly. Remember also that while the master you seek has abundant problems of his own, there is still likely to be a continual stream of willing individuals knocking on his studio door who want to relate in any way possible. If you decline to apply to or accept a position, you deny the master little of value, really. If you take on the responsibility of a position without a deep conviction that it is right for you, then you not only cheat yourself of your own growth, but you offer less than an honest person to the master as a pupil.

Suppose you develop some hopeful leads, despite the competition from the large number of people who continually look for apprentice openings. The following is offered not as an exhaustive guide to all the possible relationships that may be necessary to clarify but rather in the hope that the basic issues discussed stimulate an attitude whereby you perceive yourself as a worthy human being in search of growth entirely deserving of a fair chance to find it. My firm belief is that an apprenticeship based on humanistic considerations is by far the most worthy experience to be found.

Reputation, Philosophy, and Attitude of the Master

The reputation of the master will mean very little when you interact with him in the studio on a one-to-one daily basis. Try not to be swayed by the reputation of the master (or the lack of it), because a reputation grows not only from a response to the work of the master, but also from hearsay, rumor, jealousy, misunderstanding, and excess praise. In other words, judge and see for yourself by getting close to the person behind the reputation. Look for a master who challenges you, no matter what his aesthetic approach (sculptural, functional, or other). Keep a forward momentum by not settling for a near replica of a recent influence (such as your most recent college teacher). Better to be on the edge of security/insecurity than comfortable and self-satisfied. Try to grasp the working philosophy of the master, look at the master's work carefully, and above all listen well if you have an interview. Does this person seem to have room for other people with lives of their own and needs of their own to be satisfied? Can you sense whether or not the master treats studio work as a wholly separate thing, apart from personal life? Does that influence your sense of priorities? Do you want to work where you can be exposed to a blending of family life and studio activity?

Working in a situation where friction exists can be a terribly draining experience. I know of several apprentices - one in a foreign country as a visitor - who were forced to leave worthwhile positions because the friction between the master's studio demands and family life were not resolved. It may be that in our enthusiasm for finding a position we do not even want to know about these possible sources of friction. At the very least, look for a master that has been established for a considerable length of time (definitely more than a few months). It takes a great deal of time to arrive at some point of balance between personal and studio/business demands. I feel these matters are rarely resolved early in a studio career, nor are they necessarily likely to remain resolved on a permanent basis. My best advice is to give such matters their just consideration and avoid relationships where disharmony seems likely.

Does the working philosophy you sense in the studio revolve around a loving relationship with the entire craft process? This can be the most beautiful of all possible introductions to the life of the studio artist. Or is the thinking in terms of pounds, inches, and hours? I cannot forget a comment made by an apprentice from such a place. He told me, "We have to turn off our minds every morning to get through another day." I know I couldn't relate to such a place myself. Surely it does not have to be this way!

The Work as a Guide

This brings us to a consideration of the work done in a studio. Major clues about the master come from a thoughtful contact with the work he or she does. Look beyond productivity alone. Try to discern and measure the values expressed in the work. Studiously avoid involvement where pot boilers appear to be a mainstay. Dependence on this kind of ware usually signals an unwillingness or inability to come to grips with the eal issues in the medium. Touch the ware; experience it to sense a richness, if it is there. Try to discover if there is something that speaks personally to you in the work. If there is that spark of feeling, and you find a place to work in that studio - this is a part of the value structure you can hope to carry away with you when your time is done. Impressive equipment and huge studios do nothing to make the work produced there more meaningful. Only people can do that. Realize that some of the warmest, most communicative people you will encounter may produce work which you find disappointing. Also, you may not like some of the people you meet during your exploration, but you may find their work both beautiful and stimulating. The apprentice candidate has to sense which characteristic will be most important, if he is ever faced with such extremes of choice.

Influence of the Master

The stronger the master is as an artist, the longer it may take the apprentice to integrate the impact on his/her own work. You have to recover the balance by assimilating that influence, by facing the impact openly, evolving and then moving on to a personal statement. It would be of no use to ignore or hide from such influences, transient though they may be, nor to feel a need to claim defensively that the work done in the interim was all "my own." Whether you confront such influences head-on during the apprenticeship, attempting to sort out problems as they appear, or whether you let the matter ease itself over through the ensuing years, the fusing process will take place and the influence will be felt in one form or another. In the end, the apprentice who has chosen a master wisely is well served, for positive influences will mesh with personal goals, attitudes, and insights as part of a natural evolutionary process.

Factual Issues

If it appears a workable apprenticeship is in the offing, there are then factual matters to settle.

• Studio Times. What is the ratio of time spent doing studio work to time available for your own pursuits? Would you trade time on an hour-for-hour basis? Could you survive emotionally with no time for your own work? I would give very careful thought to what it might feel like, not being able to work on your own ideas as they surface. What about time together with the master? When can discussion take place and when can problems be aired? Will such things be catch-as-catch-can, or will there be a fixed schedule of critique?
• Space. Would you have a separate space and your own equipment, or would you be asked to bring your own tools? Is the studio designed to accommodate a second or a third person? (This can make a difference in the middle of the flurry and hustle of an active studio.) Could you get along with no space allotted specifically for your own use?
• Duties. What would you be expected to do? (Try to have that spelled out clearly.) Even though the role you fill will change as your skills become more useful, it is best to have a good grasp of the general expectations on the master's part. Would you actually help make ware for the studio? Would you want to make large numbers of repeat pieces, or would you rather have more flexible duties? Do not sacrifice other aspects of your development by agreeing to concentrate on one small part of the studio activity. It may be quite convenient for the master to manage his apprentices in a logical, job-oriented fashion for his own organizational needs, but unless you can function in a variety of different roles, you will end up with a very limited grasp of the overall view of a studio and its multi-level functions.
• Money. How would you survive financially? Would you trade studio work directly for the time and space necessary to work on your own? Would you be paid on a piecework basis (if at all)? Does the master expect you to pay him? With the sole exception of having an apprentice pay me, I have tried many variations of the trade system - or the piecework idea - and usually I vary the plan to suit the circumstances and the individual involved.

In their search for a worthwhile experience, it would help apprentice candidates to have insight into the problems the master must face concerning apprenticeship. Usually, inquiries about possible apprenticeship openings are answered by necessarily brief, negative replies from the master. Naturally, very little filters through about the complexities of the master's personal philosophy, which may color these decisions. I speak from my own experience and from contact with many craftsmen over the years.

Recently I worked as a juror for the apprentice grant section of the National Endowment for the Arts. During the jury process, it was apparent that very few well-established craftsmen from a variety of different media had applied for an apprentice grant. There are many possible reasons for this including a lack of awareness of the grants available, a lack of the need for an apprentice (or for money), and personal convictions that might conflict with the idea of accepting grants. I sense, however, that personal attitudes or convictions are more likely to be responsible for the many craftsmen who decline to make application for grants. Pride may have much to do with a reluctance to ask for money. Perhaps it seems to some that asking for assistance is tantamount to an admission that one is not worthy of respect (including self-respect) if money to pay an apprentice cannot be generated from within the studio itself. I myself have struggled with similar feelings, and I have talked to others who have a need for independence that totally excludes the possibility of accepting outside aid. Perhaps this is part of the birthright of the studio craftsman: the right to a stubborn pride.

I understand these feelings because they motivate me as well. I can see, however, that they have a pronounced negative influence on one-to-one crafts education at the studio level, where so much vital exchange can and should take place. We desperately need all devoted craftspeople to serve as educational resources! We must move toward better use of these valuable resources.

I would invite those in the crafts who experience discomfort with asking for financial assistance to consider the situation further. We all realize that many individuals in the crafts use approaches that are slow to produce finished work; low turnover and low profit are thus natural consequences. Surely, then, these are situations where grants could do enormous good. Many craftsmen maintain their preference to work alone, while stoically they accept a limited output due to a lack of studio help. You hear complaints about all that paperwork that goes along with apprentice involvement. In fact, a considerable effort is being made to greatly simplify the requirements a master must meet as the administrator of a grant. The list of reasons why apprentices are not taken could go on, of course. I still wonder, however, if deeply felt but perhaps misdirected pride isn't what prevents hundreds of worthy craftsmen from making application for grants.

To say that all we, as craftsmen, owe our society is the work we actually create is only a half-truth. We should reflect upon our equally essential obligation to put vitality back into the structure that has nurtured us over the years. We owe each new generation of craftsmen our skills, our philosophies, and an exposure to our lives as whole, if fallible, human beings. We cannot afford to halt the needed transfer of knowledge and feelings by denying contact because of pride or inconvenience. If we are not willing to give of ourselves, we have no right to criticize nor be indignant at conditions in the crafts which we wish were otherwise.

There is a very real possibility that despite your best efforts and highest motivations, no apprentice position will be found. You should begin your search by realizing that many of the masters you will contact may never have had an apprentice experience themselves. Many candidates who approach me in search of an apprentice experience express the firm conviction that apprenticeship is the only valid progression beyond schooling. The reality is, however, that there is only a terribly small supply of potential openings available. Therefore, you are left with two prospects - to give up or to begin on your own. It is possible to make a successful beginning without the apprentice phase as a staging point. I never had an apprenticeship, nor did thousands of others who are successfully practicing their craft. Sooner or later a beginning will have to be made. Look well at your situation, your personality, and your preparedness, and consider taking the plunge.

If I were pressed to say who might begin well without an apprenticeship, I would say self-starters. Motivation, enthusiasm, and courage, combined with a reasonable measure of practical know-how, are good starting tools. As with any approach to a craft, there will be an inevitable price to pay. If the apprentice pays with his own time for the gains of that particular kind of experience, the self-starter pays in equally specific ways. "Constructive failure" is a term I would apply to much of my own early learning in the studio. In fact, I can hardly confine the notion to early experiences, since to this day I occasionally bang my head against my inadequacies. I seem destined to try many new tasks or design problems the wrong way. Then, finally seeing the way not to do it, I find useful solutions. Time may be lost but never wasted in such a manner. Any tinker or mechanic designer in the past did the same. You must keep on trying until the fear of failure is forgotten. Now I try anything, and I consider temporary frustration a small price to pay for the sense of elation I receive from tackling the problems directly. I know I won't let myself fail for too long. I suppose this is another form of apprenticeship - a self-apprenticeship - that can last a lifetime.

Very possibly the time to break the dependency on the idea of a progression through an ordered system (school, apprenticeship) may be right now. You have only to look around at the abundance of contemporary literature dealing with virtually every phase of survival in the crafts. Special workshop programs, summer craft schools, and a multitude of sources for enrichment are there for the taking. It would be difficult, after a reasonable amount of self-directed research, not to come away thoroughly acquainted with the basic requirements for a sound business and technical approach to crafts.

To the highly motivated individual, the gathering of skills can almost be secondary to the enthusiasm for a beginning in studio work. Apprenticeship cannot in itself cure a lack of motivation. There is a spark that must come from deep within each individual to carry him past the temporary frustrations on the way to a deep and lasting commitment.