Master-apprentice dynamics

Gotta tell you Robert- when I was starting out as a child- with virtually no familial support- the library was my best friend and an escape from the (religious/sexist) cultural rot of tradition I found myself in because I was already an artist. I read large books about Alexander Calder- who I was fascinated with- as well as many how-to books by other folks. But by the time I immersed myself in my work- at 26- I was so far ahead of any of my fiber/artquilt contemporaries (because there really weren’t any yet) that there was no longer a master relevant. I would continue to purchase a few more books- but even they became irrelevant. While the Japanese system may have merit- I thank God every day I’m not stuck in it. What a drag. I’ve said this before. If you want to produce original work- one day you have to step beyond any and all masters outside yourself and just do the work. It is the doing that makes you a master.

with the advent of utube and dvds instruction on almost every aspect of work can be found. Creativity can come before that, during and after one has developed the skills. Sometimes there is worth while work at all levels but the creativity plus the skills usually hits a higher mark for the artist.

Your reflections on the apprentice-ship system in Old Japan sounds like an homage to the days of child-labor. In most countries, this sort of nonsense has been outlawed, as it should be. What is this Japanese Miracle, you proclaim? Did you meet a Paul Klee? Did you meet a Peter Breugel? A Bosch? Did you meet the new Andy Warhol? If you did, you are not sharing them with us. The master/apprentice paradigm is way old and very tired. The new paradigm is when your three year-old grandson shoots you down with a hose, and thinking this is so funny he laughs so hard he wets his pants. These days we grind our pigments with machines. There were no good old days. The old days were not really very good. There is only tomorrow. That is where I live, and that is where my tricky grandson lives. He will water you down, if he gets the chance. And, yes! I am talking about art. Art is what human beings do. It is as simple as a good meal, it is a piece of art, it is a little kid with a hose. Your letter was titled, “Master-apprentice dynamics.” Just name one apprentice who has gone on to do anything besides make a good piece of sushi. Art is not that simple.

It is interesting to note that none of the long time apprentices were women. They were all staying at home looking after “their men” as many still are today.

Ahh we digress… I think Robert is pointing out the old ways and suggesting that some aspects are still applicable; like seeking guidance along the way, even if we have the talent and will to work at our art, there is always something to learn from others… (Even if it is just “not” to do it the same way.) Think about it, don’t we all examine some kind of art everyday and relate it to our own? And something led us to our own style…it didn’t just fall out of the brush…we have been seekers as well as artists. Maybe we don’t follow a literal “master” but we are thirsting just like the young apprentices for what will make us a great artist!

Robert, I appreciate your sharing the “good old days” about apprenticeship. I for one would love to have had the opportunity to study under someone whose work I admire. I’m considered almost a senior citizen at this point in my life and am struggling with trying to paint, taking workshops when I can. I want to paint plein aire and I want to be good at it! I’ve often thought about going to school but there are artists out there who “poo poo” that idea and say “just paint.” It’s frustrating. I would love to study under a master painter and completely immerse myself in the making of art everyday soaking it all in. I didn’t have the chance when I was younger and I am freed up now that my children are grown. So I take workshops and classes and until I meet the artist that would want a “senior” apprentice, this is what I’ll be doing until I can no longer hold a brush!! Thanks for your newsletter. It’s much appreciated.

No questions! Heaven!

Says Jean: “It is interesting to note that none of the long-time apprentices were women. They were all staying at home looking after “their men” as many still are today.” Not interesting at all, Jean, no more so than that most nurses are women. We make our choices and then we live with them. Most grave-diggers are men, isn’t that ‘interesting’?

It’s so nice to have an artist friend who writes to me twice a week with always something important and thought provoking to say. I bought the BIG BOOK of your last ten years of letters. It is my constant companion.

I just got home from Japan with my Japanese wife. We spent time with friends in Yokohama, and then spent several days with our friends at Aizu-Wakamatsu at a Hot Springs Resort Hotel in the north of Honshu. Very refreshing in the mountains. A week later we traveled up to Sapporo, in Hokkaido and spent a week with my wife’s family. I didn’t get much art done, but I did capture quite a bit on camera. We’ve been going back for 40 years now. and still love the tranquility that can be found in such a bustling environment

The point is we can learn from others who have also learned from others. With our current love affair with individualism, and the belief that talent and success are somehow innate, it is no wonder that so many fail at art.

Add to the above a feeling of entitlement, and you have the widespread dissemination and even appreciation of mediocrity. Chicago

Mr Brown has obviously not been to Japan.

I’ve never been a proponent of coincidences and your last letters, from Japan, find me in a rut, stuck inside my now unmovable Zen Series. In this series I seek the simplicity, the serenity, the surprise detail often off the beaten track. Wabi Sabi and the incompleteness and transience of design and execution pose a challenge to my often overworked paintings (I don’t think most of them look overworked, though. If I’m right, I’m lucky). Your letters are perhaps the Universe’s sign of compassion for my enui, disconnection from my work. Incorporating these welcome elements into my paintings will require a meaningful pause and a great many changes in the way I feel, think and work. But perhaps this is what I have been waiting for, unknowingly?

Every artist should be magnanimous enough to share knowledge to a fledgling artist. What does it cost you? It may be pearls of wisdom that helps the amateur progress and is certainly appreciated. Individually, I cherish what I learned through our public library system before I was able to take art lessons as a child – our libraries are our great national treasures. I am profoundly thankful because libraries provided me with a foundation to get serious about my art. The old European atelier system is similar to what you describe but is also old world. Contemporary teaching is far different. These days even apprentices and/or students have to be concerned with making a living. The art doesn’t necessarily suffer but the whole dynamic is different. The only caution with “teaching” is prolific DVDs in this Internet age that do not necessarily lend themselves to solid art theory. Regardless, learn what you can, discard what is not helpful, and be the best artist you can be … and that may be an individual pursuit. TEACHING may simply be contribution to your art.

Referring to Classical versus Pop or Jazz, Duke Ellington said “There are only two kinds of music. Good and bad.” Richard Strauss said something similar. You could say the same about art and not break it down into abstract and realistic, etc. etc. For art that takes skill, this generally means some sort of a teacher. The important thing is to choose your teacher well.

Recall that Leonardo da Vinci once wrote in one of his notebooks: “If a student does not surpass his master, he fails him.” Santa Fe, NM

Is it just me? I’m noticing a trend here at “Genn’s house.” The letters and comments all seem to be much more strident than in the past. “My way or the highway” opinions abound and I’m afraid most are missing the point of just reading and absorbing. . .finding a nugget to keep. Discard the rest, but don’t go crazy trying to build mountains when there’s no need! Living here in America, the same has happened with our politics. . .right, left, each leaving little room for discourse or civility. I look at the art world as calmer and more sensitive. . .but lately folks, I’m seeing much the same banter here. A phase perhaps? I say stop, look and listen. . .breathe deep. Feel good. Absorb. Appreciate. Paint.

I love reading the letters and the comments. Very thought provoking to us when as artists we are mostly alone in our studios. I agree with Thierry, that “more than anything it’s about hard work.” I also agree with others above that an artist needs to give of his knowledge to those coming behind him (her). And, I love the quote about Leonardo about failing his student if the student does not surpass the teacher. This is wonderful. I have many times told my students to not paint like me, but to learn to question and try anything they can think of. This is the true way to finding what they do best. I am only teaching them my way of thinking, not my way to produce art. And I have said many times, my way of thinking is not the only way. I have had many wonderful teachers — and many wonderful books that I have learned from. Still, there is much more to learn. I hope I never stop learning. I have called several of my teachers, “my mentor”. Sometimes they just smile at me when I say it. But, they know exactly what I mean. It might not be the apprenticeship of the past, but it is still a mentor / student relationship. Thank you Robert — and everyone else for your thoughts!

Jean wrote: “It is interesting to note that none of the long-time apprentices were women. They were all staying at home looking after “their men” as many still are today.” Thierry responded: Not interesting at all, Jean, no more so than that most nurses are women. We make our choices and then we live with them. I think her point was that women did not have the option to become apprentices. There was no choice about it. Now at least some women in some places have the opportunity to get the education they want. The old apprenticeship system would probably not work now, but mentor/internship is serving something of the same purpose. I would like to see ateliers become popular again, with so many people wanting to learn how to make art. Of course, as with any opportunity, the more you put in, the more you get out.

We had an aprentice living with us of and on the last 2 years. He came for 3- 12 week sessions with breaks in between. At first it worked out well. He helped with chores and worked one on one with David. it is a difficult relationship to sustain. I think he became too comfortable after awhile and we didn’t see as much respectful attitude as we had earlier. He started not getting up early to do his own work.He would do the chores but he wasn’t as self motivated for his own work by the third session. Maybe he didn’t have the maturity for this arrangement. Having someone around all the time is also distracting for the “master”. This is quite a committment. Still I’m sure he did get something out of his time spent with us and we certainly benefitted from his help through the difficult time when I was very sick.

Love Island,they are so unique,

From one who wanted to do art all his life, but never had the encouragement or the fortitude to step out his article was very enlightening and encouraging. A year ago I finally started living my dream and creating art. My current problem is finding those mentors. There are many who teach workshops that range from 3-5 days, but I’ve not found any who want to work with someone on an ongoing basis; at least not in the Chicago area. I will be looking at the workshop schedule as I try to schedule at least 2 weeks vacation each year to take in workshops. What Jeffery Hessing did in his article above is what I would love to do, but alas a wife and responsibilities keep me from it. Would you suggest that if someone wants to be mentored be a particular artist that going to a couple of workshops on a yearly basis would work? I know this would be a little slower, but would give the opportunity for the critique that I believe I’m missing. I have a vast library, and while helpful it leaves me with unanswered questions as well. I do want to say thank you to those “Masters” of their art who are willing to take the time to answer email and give suggestions and encouragement.

I have been working, with my committee, for a number of years now, on developing a Mentoring Program through the Society for people who do not have access to a mentoring relationship. They either live too far away from any art “center” or they just don’t know how to establish a relationship with a professional artist in the field of Portraiture. It has been a challenge to get it off the ground but we have succeeded in running a six month Trial Program year before last and then this past “school term of nine months” have had a very successful program for our first full term (of nine or ten months). I particularly liked the comparison with our current way of learning through workshops and books or however we might grab knowledge on the run to quickly get started on a career path!. But the “Japanese system was geared to produce experts, not just men who do adequate work!”

Jean wrote: “It is interesting to note that none of the long-time apprentices were women. They were all staying at home looking after “their men” as many still are today.” I responded: Not interesting at all, Jean, no more so than that most nurses are women. We make our choices and then we live with them. Darla wrote: “I think her point was that women did not have the option to become apprentices. There was no choice about it. Now at least some women in some places have the opportunity to get the education they want.” I got her point, Darla, but you didn’t get mine: Jean’s point is very uninteresting. Who cares about how it was; today, women can do whatever they want. It shouldn’t be news, I thought. Now, let’s get painting.

Lets face it. Apprenticeship and workshops are two very different things. All they have in common is that hopefully somebody learns something from the experience and someone gets to eat at the end of the day. Apprentices get on the job training. They do something useful and in exchange they learn how to do it better as they practice under the watchful eye of the Master. And they broaden their knowledge base. They also get to eat and have a place to sleep while learning. They watch and learn and practice. The human brain can take it all in. (admittedly this is assuming a good Master to work/study with and a reasonably capable student) Workshops are institutions whereby the student pays the Master while turning out useless stuff. The Master has no stake in ensuring the quality of the students work. The student has to come up with the means to feed and house the Master as well as himself. As generous as a master may be with his knowledge,( assuming he is a good master) how many students can absorb $100 worth in a couple of hours, let alone $1500 in a week. And how many can afford to pay this while also supporting themselves and practicing without supervision? (minimum wage being $8 / hour here in BC.) The function of the workshop is to augment the income of the Master, impart a mind boggling amount of information in a short time and entertain the student. Students may be seen as patrons immersing themselves in the arts for a brief intensive hit and then returning to the world where they make enough money for the next hit. There’s nothing wrong with these functions. Society has changed. The Master must eat. The burden of patronage is spread over a broader base. And getting involved in art is healthy ( as long as you don’t suck your brushes) and entertaining. All good stuff. But not equivalent to apprenticeship. Where are all the true Masters who will teach you all the skills of the trade, how to survive the business side and feed and cloth you in the process? Yes. they do exist. They are plumbers, carpenters, electricians……

Art has long since been a trade, long before the error of thought that selling ones work was “selling out”. The myth of the starving artist being the only true artist? I have been starving and live on a pretty tight budget now and honestly it is not as glamorous as some believe it to be. So, if people want to apprentice then ought to, in fact I am a pretty firm supporter of the idea that after your BFA you should have a minimum of two years as an apprentice with an established artist before being accepted into an MFA program.