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(DIY) Do-it-yourself Sol LeWitt Wall Drawings


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You too can present a retrospective of the great Wall Drawings of Sol LeWitt!

You’ll need a crew. Art students will do. Also recent art graduates, and artists- if they can follow instructions.

LeWitt, MASS MoCA, wall painting

LeWitt, MASS MoCA, wall painting

LeWitt, MASS MoCA, wall painting
You gotta buy ‘em some paint. Get the good stuff.

LeWitt, MASS MoCA, wall painting

Maybe they’ll throw in some hats.

LeWitt, MASS MoCA, wall painting

Find a large space. Very large. We’re not talking precious little miniatures. Usually, an abandoned industrial warehouse, factory, or a mill complex works well.

LeWitt, MASS MoCA, wall painting
From the days when America actually made stuff you could use.

But inside you’ll have to build white walls. Lots of them. And make sure they’re to LeWitt’s specifications.

LeWitt, MASS MoCA, wall painting

LeWitt, MASS MoCA, wall painting

Follow the plan for what goes where, or you’ll be at your wits end.

LeWitt, MASS MoCA, wall painting

(Even the plan is beautiful.)

Now pin up the working drawings by LeWitt so you know what to follow. They’re done by hand, not computer. So, as “perfect” as they look, they’re not. That’s refreshing.

LeWitt, MASS MoCA, wall painting

If you’re lucky, Sol LeWitt’s daughter Eva, a colorful artist in her own right, might lend you transparencies and one of those good, old-fashioned overhead projectors.

LeWitt, MASS MoCA, wall painting
Now get out your tape and mock up the walls!

LeWitt, MASS MoCA, wall painting
Remember, Sol LeWitt had helpers too.

LeWitt, MASS MoCA, wall painting

LeWitt, MASS MoCA, wall painting
If you’ve done it all right, interesting patterns will start to appear.

LeWitt, MASS MoCA, wall painting

LeWitt, MASS MoCA, wall painting

LeWitt, MASS MoCA, wall painting

LeWitt, MASS MoCA, wall painting

This

LeWitt, MASS MoCA, wall painting

becomes

Sol LeWitt, MASS MoCA, wall painting

Line up your charts of the colors LeWitt specified to make sure you get ‘em right

Sol LeWitt, MASS MoCA, wall painting
and let ‘er rip! (click the arrow)

Music to my ears.

Handwork, as at Lascaux.

Yes, if you follow LeWitt’s instructions you too can produce absolutely stunning Wall Drawings

Sol LeWitt, MASS MoCA, wall painting

Sol LeWitt, MASS MoCA, wall painting

Sol LeWitt, MASS MoCA, wall painting

Sol LeWitt, MASS MoCA, wall painting

Sol LeWitt, MASS MoCA, wall painting

Sol LeWitt, MASS MoCA, wall painting

Sol LeWitt, MASS MoCA, wall painting

The world around you is transformed.

Before

Sol LeWitt, MASS MoCA, wall painting

After

Sol LeWitt, MASS MoCA, wall painting

Sol LeWitt, MASS MoCA, wall painting

Sol LeWitt, MASS MoCA, wall painting

The later, bolder ones

Sol LeWitt, MASS MoCA, wall painting

show how artists use of color often changes as they age.

So for your retrospective, try to include some of LeWitt’s more subtle works

Sol LeWitt, MASS MoCA, wall painting

Those are revelatory. And it’s moving to follow the artist’s path.

For these subtle ones, have the crew keep the pencils very sharp

Sol LeWitt, MASS MoCA, wall painting
To get

Sol LeWitt, MASS MoCA, wall painting

Can you say compulsive?

Sol LeWitt, MASS MoCA, wall painting

And keep the lines fine and straight, or this poor guy will go blind to correct it! (click on arrow)

When you’re all done, you’ll have wonderful, jarringly powerful spaces:

Sol LeWitt, MASS MoCA, wall painting

just like at the Sol LeWitt retrospective opening at MASS MoCA November 16, 2008.

Congratulations to the crew! And to MASS MoCA’s Director Joseph Thompson, and to all involved, including Yale University Art Gallery, and the Williams College Museum of Art, Williamstown, Massachusetts, and Bruner/Cott and Associates architects, who restored the building.

Done in collaboration with Sol LeWitt, before his death in April 2007. The retrospective will include one hundred works—covering nearly an acre of wall surface—that LeWitt created from 1968 to 2007.

Here’s how it came to be, according to MASS MoCA: Jock Reynolds, the Director of the Yale University Art Gallery, who in 1993 worked closely with LeWitt to produce an earlier retrospective of his wall drawings brought Sol LeWitt to see MASS MoCA and its Director Joseph Thompson.

“LeWitt toured the MASS MoCA’s campus of industrial buildings, where the artist was immediately intrigued by Building #7. The structure, situated at the center of MASS MoCA’s multi-building complex, and featuring large banks of windows that open onto two flanking courtyards, appealed to LeWitt as an ideal site for a multifloor installation of his work. His specifications for the space included new circulation paths, including a series of “flying bridges” and newly created courtyard spaces, that will connect the LeWitt building to MASS MoCA’s changing exhibition galleries and entry lobby.
Thompson comments, “As we’ve built the interior partitions to Sol’s specifications, it has become clear that his understanding of architectural space was as masterful as his wall drawings themselves. He consciously sited his wall drawings to engage both the interior of Building #7 and its outside environment. It is stunning to see how well his monumental aesthetic intervention within the heart of the MASS MoCA campus of buildings is going to enliven the entire museum. Sol left almost every window in Building #7 generously open to invite in a play of continuous natural light—which is somehow typical of his creative spirit.”
“Detailed,” “painstaking,” and “strangely liberating” are terms that have been used to describe the experience of creating Sol LeWitt’s monumental wall drawings. The drawings at MASS MoCA will be executed over a six-month period by twenty-four of the senior and seasoned assistants who worked with the artist over many years. They will be joined by thirty students from Yale University, Williams College, and North Adams’s Massachusetts College of Liberal Arts, as well as by undergraduate students from other colleges and universities around the country.”

Along with Tadao Ando’s buildings for the Clark Art Institute in the same area, by November this is worth a trip.

Rest easy, in your pretty little town in the Berkshires, knowing you’ve added interest to the world. Rest easy too – your work lives on – Sol LeWitt.

.

—–
This is a repost of
http://edwardlifson.blogspot.pt/2008/06/do-it-yourself-sol-lewitt-wall-drawings.html
Thanks to 


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A CELL is NOT a BABY: (DIY) Do It Yourself Abortion TiPS

In order to have a proper choice you need the best information available. What ever you decide, just keep in mind your health. Whatever you do, just don’t do it alone or unsupervised.  Below some tips and general info regarding your choices. 

 

Home Abortion Remedy – Vitamin C

I found this recipe in a book called “A Woman’s Book of Choices: Abortion, Menstrual Extraction, RU-486” by Rebecca Chalker and Carol Downer.
The books says to take 6-10 grams of ascorbic acid a day for 5-10 days. It says specifically ascorbic acid. Don’t use vitamin C with bioflaviniods in it, because they work to prevent miscarriage. Read the label and check the ingredients, write down what to look for if you think you won’t remember when you get to the store. Tons of vitamin c products are available, look for the cheap generic brands, they are usually the ones that have pure ascorbic acid. Don’t use anything that has Rose-hips in it, they conntain bio-flaveniods which help to prevent miscarriage.

Agency: 


Tree Houses (DIY)

 

Tree housestreehouses, or tree forts, are platforms or buildings constructed around, next to or among the trunk or branches of one or more mature trees while above ground level. Tree houses can be used for recreation, work space, habitation, observation or as temporary retreats.

In some parts of the tropics, houses are either fastened to trees or elevated onstilts to keep the living quarters above the ground to protect occupants and stored food from scavenging animals. The Korowai, a Papuan tribe in the southeast ofIrian Jaya, live in tree houses, some nearly 40 metres (130 ft) high, as protection against a tribe of neighbouring head-hunters, the Citak.

Tree houses are an option for building eco-friendly houses in remote forest areas, because they do not require a clearing of a certain area of forest. The wildlife, climate and illumination on ground level in areas of dense close-canopy forest is not well suited for human habitation.

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In modern tree house construction, supporting the structure can be summarized by the following methods:

  • Stilts

Tree houses supported by stilts do not need the tree to take any of the weight stress of the building materials and potential strain and injury cased by puncture holes.[3] Stilts are typically anchored into the ground with concrete although new designs, such as the “Diamond Pier”, accelerates installation time and protects sensitive root systems.[4] Stilts are the easiest method of supporting larger tree houses, and can increase structural support and safety. Adding stilts to tree houses built with other methods of support is an option to increase stability and safety.

  • Friction and tension fasteners

Friction and tension fasteners are the most common method of securing tree houses. These includenailsscrews and bolts. Because this method requires punctures in the tree, the fewest possible number of these should be utilized to minimize stress.[5] Nails are generally not recommended to attach a tree house to a tree.[6] A development called the treehouse attachment bolt which can support greater weights than earlier methods, is now commonly used by many tree house companies worldwide.

  • Suspended connections

Tree houses that use this design are among the least cluttered and unique types today. Rope and cable are the most used methods of suspension. Suspended tree houses are among the most difficult to construct and access.[7]

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Since the mid-1990s, recreational tree houses have enjoyed a rise in popularity in countries such as the United States and parts of Europe.[8] This has been due to increased disposable income, better technology for builders, research into safe building practices and an increased interest in environmental issues, particularly sustainable living.

Increased popularity has, in turn, given rise to demand for businesses covering all building and design work for clients. There are over 30 businesses in Europe and the USA[9] specializing in the construction of tree houses of various degrees of permanence and sophistication, from children’s play structures to fully functioning homes.

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Many areas of the world have no specific planning laws for treehouses, so the legal issues can be confusing to both the builder and the local planning departments. Treehouses can be exempt, partially regulated or fully regulated depending on the locale.

In some cases tree houses are given exemption from normal building regulations, as they are not considered to be a building in the normal sense of the word. An exemption may be given to a builder if the treehouse is in a remote or non-urban location. Alternatively, a tree house may be included in the same category as structures such as garden sheds, sometimes called a “temporary structure”. There may be restrictions on height, distance from boundary and privacy for nearby properties. There are various grey areas in these laws, as they were not specifically designed for tree-borne structures. A very small number of planning departments have specific regulations for tree houses, which set out clearly what may be built and where.

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Tree houses can be used for recreation, work space, habitation, observation or as temporary retreats.  DIY tree fort11

 Friction and tension fasteners are the most common method of securing tree houses DIY tree fort12

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The tree house has been central to various environmental protest communities around the world, in a technique known as tree sitting. This method may be used in protests against proposed road building or old growth forestry operations. Tree houses are used as a method of defence from which it is difficult and costly to safely evict the protesters and begin work. Julia Butterfly Hill is a particularly well known tree sitter who occupied a Californian Redwood for 738 days, saving the tree and others in the immediate area. Her accommodation consisted of two 3m2 (29 sq ft) platforms 60 m (200 ft) above the ground.[10]

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References

  1. ^ Head-Hunters Drove Papuan Tribe Into Tree-Houses
  2. ^ “Research into tree fastener strength”. Retrieved 2008-11-21.
  3. ^ “Tree injury”. Retrieved 2011-05-12.
  4. ^ “Diamond Pier”. Retrieved 2011-05-12.
  5. ^ “friction fastening advice”. Retrieved 2011-05-12.
  6. ^ “Danger of nails”. Retrieved 2011-05-12.
  7. ^ Bahamon, Alejandro (2007). Treehouses Living a Dream. New York, NY: Collins Design. pp. 8.ISBN 0 0607 8001 0.
  8. ^ Henderson, Paula; Adam Mornement (2005). Treehouses. London, UK: Frances Lincoln Ltd. pp. 7. ISBN 0 7112 2437 4.
  9. ^ “Commercial treehouse builder list”. Retrieved 2007-11-20.
  10. ^ Henderson, Paula; Adam Mornement (2005). Treehouses. London, UK: Frances Lincoln Ltd. pp. 65. ISBN 0 7112 2437 4.

External links

 

As in

http://en.wikipedia.org/wiki/Tree_house

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