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Interested in how children, workforce or lovers are using their phones? Novel software programs capture and archive SMS text messages, trace mobile phone GPS location, sent and received mobile phone call logs information and send it to a web personal account. Monitoring Software is a common means for Parents and Employers to take responsibilty. Monitoring of Computer and Smartphones is Widespread. Good Parents Monitor Their Kids . Spy Software (not bad) and Spyware (bad) are definitely not the same thing. Spyware is really a broad group of possibly harmful software that will implant itself on cell phones, usually arriving from internet connections. Definitions depend on usage and intent of spyphone software programs rather than a technological standard. Spyware, per se, can be usually designed to seize partial control over laptop or computer or cell phone operation without having authorization from the device’s user. Whether it is simply to get a basic idea of what’s going on, or perhaps to deal with more severe problems, technology is a crucial tool for families or organizations. Parents or guardians possess legal and moral responsibilities to monitor and track mobile phones and find out how they are getting used, or misused. Many people are familiar with the issues and dangers related to computers and the web. Smartphones are just like computers, however have even more dangers due to their convenience, sophisticated communications, and the user’s sense of autonomy. A lot of people might include spy in terms used to describe legitimate monitoring of mobile phones. There are plenty of legitimate justifications to Track Cell Phone Location and communications content. If the monitoring is reasonable then perhaps the term spy is benign, and does not signify malignant intent.
Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse / Houston Center for Contemporary Craft, Houston
February 7 – May 11, 2014
Opening Reception: Friday, February 7, 5:30 – 8:00 PM
5:30 - Artist Talk by Adrian Esparza
6:00 - Artist Talk by Christine Nofchissey McHorse
The opening will also feature Spectra by Adrian Esparza in the Front Gallery. Open studios by current resident artists to follow talks.
In Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse, Houston Center for Contemporary Craft (HCCC) presents works by one of the most innovative contemporary forces in Native American pottery. Working from traditional materials and techniques, Christine Nofchissey McHorse’s vessel-based art blends the boundaries of pottery and sculpture, erasing the line between function and form. As the Navajo artist’s first traveling exhibition, the show exhibits the unadorned sophistication of the sultry curves, black satiny surfaces, and modern forms of her Dark Light series, created from 1997 to present. An amalgam of Puebloan, Navajo, and contemporary influences, each sculpture possesses a cultural splendor that is as fertile as the Northern New Mexico riverbeds where McHorse harvests her clay.
Through the unadulterated beauty of micaceous clay and with Puebloan construction techniques learned from her Taos mother-in-law, McHorse transforms her sketches into voluminous shapes that swell upwards like a natural spring. Dismissing the rudimentary forms that define Native American ethnic identity in craft, she returns to primordial shapes, akin to the modern aesthetic of Henri Moore. Experimenting with shape, mass, volume, and line, she creates organic vessels in the vein of her ancestors, who recognized the spiritual power of water, air, and earth.
To complement her natural forms, McHorse gives each piece its own unique skin by pushing the boundaries of a raw material. Traditionally used for cookware and valued for its structural integrity, micaceous clay permits McHorse to build thin-walled structures that can withstand high temperatures, yielding a black satiny finish. The darkness of the fired clay provides a dramatic contrast to the tiny bits of reflective mica, glistening as light dances across each piece. Using light gradation as her palette, McHorse controls the presence of light by creating differently textured surfaces that either catch or reflect the light. When combined with the elegance of each sculpture’s form, the element of light in McHorse’s works renders a captivating visual experience.
Born in Morenci, AZ, in 1948, Christine Nofchissey McHorse is a first generation, full-blooded Navajo ceramic artist. After marrying Joel McHorse, a Taos Pueblo Indian, she learned to make pots through his grandmother, Lena Archuleta, who taught her to work with micaceous clay, a rare but naturally occurring clay high in mica content that can be found in the Taos area. McHorse has since become one of the most admired and successful Native potters, working with traditional techniques but making the kind of reductive, sculptural pots that one would have expected Brancusi to make, were he alive today.
From 1963 – 1968, McHorse studied at the Institute of American Indian Arts in Santa Fe, NM, where her studio is now located. She has received numerous awards from the SWAIA Indian Market, Santa Fe, and the Inter-Tribal Indian Ceremonial, Gallup, as well as the Museum of Northern Arizona. Her works are in the collections of the Denver Museum of Natural History, the Museum of New Mexico, the National Museum of American Art of the Smithsonian Institution, the Navajo Nation Museum, and the Rockwell Museum of Western Art. McHorse also has the unique distinction of winning Best in Show for both pottery and sculpture at the annual Santa Fe Indian Market.
Dark Light: The Micaceous Ceramics of Christine Nofchissey McHorse is organized by The Ceramic Arts Foundation, New York, NY, and curated by Garth Clark and Mark Del Vecchio.
Anders Ruhwald and Matt Ziemke at The Clay Studio, Philadelphia
February 7 - March 2, 2014
The Clay Studio will host a reception for Cranbrook Alumni on Saturday Feburary 8th at 2pm. Matt Ziemkie will give a Gallery Talk at 3 pm within his solo exhibition Adrift and Anders Ruhwald will give a gallery talk at 3.30 pm within his solo exhibition Almost Everything.
Anders Ruhwald: Almost Everything / Harrison Gallery
Danish-born artist Anders Ruhwald makes art that is “a meditation on utility, the history of ceramics and object-hood”. Almost Everything was created in 2009 and has been exhibited at galleries in five European countries before making its United States debut at The Clay Studio.
Ruhwald has lectured and taught at universities and colleges around Europe and North America since 2006 and has held an associate professorship at the School of the Art Institute of Chicago. Currently he is the Artist-in-Residence and Head of the Ceramics Department at Cranbrook Academy of Art in Michigan, USA.
Matt Ziemke: Adrift / Reed-Smith Gallery
Former Clay Studio Resident Artist Matt Ziemke draws his inspiration from the tense relationship between the landscape and those who live and build within it. His ceramic forms reflect his broad vision of material culture that leans harder on industry than domesticity. His installations are drawn from the vast reservoirs of familiar (but practically invisible) structures that dot the modern landscape.
Matt Ziemke received his MFA in 2011 from the Tyler School of Art in Philadelphia. He has exhibited widely in the United States and is currently serving as a Visiting Artist in Ceramics and Adjunct Instructor at Indiana University Southeast in New Albany.
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