I Was Listening

I WAS LISTENING a compilation of things heard in the hallways, learned in class, and thought in my head. by sarah boudreau

a brief introduction...

The content of this book has been collected in sketchbooks and in a brain over a period of 952 days (2 years, 7 months, and 9 days), starting August 26th, 2013, and ending March 3rd, 2016. It is an evolving piece of work, documenting the process of learning and information gathering, that will continue most definitely in the physical realm at least until graduation and mentally for an indefinite period of time.

The purpose of this paticular book is a way to record my growth and time working through my undergrad. It is a playful experiment in color, type, and whatever else comes along.

March 4th, 2016 This book is dedicated to all the professors who had to endure my sassy sense of humor and dashing good looks for the last three years - you’ve all shaped me (by small nudges or rather large shoves) into the artist I am today.

This is also dedicated to the Nun Huns. May we always be as hilarious and charming as we are today.

1. Use a sketchbook, always and forever.

2. offe r a reward for your sketch book

3. Fabriano sketchbooks just suck. and then they fall apart.

?

4. ASK QUESTIONS

L U F E S U

smart

d n i i m

s p p a m d n gooooood

h g u o n e Not ? e m ti a n i k r o w e t u miN

not enough materials? work with what you have

8. Begin from multiple sources, ask multiple questions, and find multiple opinions.

9.

(ps: please don’t make art about your s.o.)

a two page interlude for

two things on brian zimmerman:

B r i a n ZImmerman is going to make you p l a y exquisite c o r p s e

BRIAN ZIMMERMAN MIGHT SUGGEST YOU MAKE SOMETHING 3D.

If the pressure of trying to kill something and/or creating 3D artwork is too intimidating, aviod him at all costs.

probably NUM take BER public TEN speaking.

>

you’re going to have to be able to talk about your work in critiques, job interviews, and class. If you can’t do it well, it will affect your grade and your likelihood of job attainment.

11. USE YOUR HANDS!

12

...do not think you can not.

13

“Don’t coat the whole damn screen.”

- Alan Levin

HEIARCHY heiarchy heiarchy

HEIARCHY

14

HEIAR CHY

HEI ARC HY

TOMTOM-

ii nn tt rr oo dd uu cc ii nn gg .. .. ..

-ISMS -ISMS

“Everyone is involved with everyone’s business”

15

“Printmaking can inform your other artwork”

16

“YOU KNOW ABSOLUTELY NOTHING ABOUT ART.”

17

“if you can’t be good, be neat”

18

Lower your standards. It doesn’t mean you’re not going to get there.

19

What did you make?

What does it mean?

Does it make sense?

Was it worth making?

20

Deep objects are something that guides and disciplines curiosity into interaction and fascination and self transformation.

21

(th e t o m -i sms e n d he re )

NOTHING EX NIHILO comes from

NIHIL FIT NOTHING

22

one of the first lessons, also one of the best, but here it is as #22

LESSONS FROM: HOW TO STEAL LIKE AN ARTIST

23. Embrace influence instead of running from it because you can not be completely original.

24. Andre Gide: Everything that needs to be said has already been said.�

25. There’s only things worth stealing, and things not worth stealing.

26. Start by doing the work you want to be doing

27. Don’t let the white boys get you down

s i l ent ly and stead il y over c o me th em w i th y o u r t a l e n t .

GRID or d ra w your ow n

USE THE 28.

29. BE INFORMED Go watch the damn news.

If you aren’t taking in things books, other art, coffee, good food, conversation, other people, anything, something(!) - how can you expect to create anything?

That’s like breathing out without ever breathing in.

30. Don’t disappoint Noriko.

31. there are no rules, but you have to know them if you’re going to break them.