between earth and sky: contemporary art from the american southwest

Curator Peter Held contacts me in the Fall of 2014. He is organizing an exhibition that will travel to four Chinese colleges and universities in the Spring and Summer of 2015. The plan includes work from a dozen Southwest artists focusing on contemporary art from the region. He explains it will include works on paper only: photography, prints and drawings.

Earth&Sky_ASU catalogue_Page_01

We hope this exhibition will give the Chinese audience a sense of what the Southwest is: place, landscape, people and culture.  We would love to consider including 1-2 of your works that are smaller in scale.

I meet with Peter and based on our discussion I decide on animal studies. My main focus is human anatomy but I have an interest in anatomy in general. After a bit of thought, I come up with the idea to paint a creature to represent the states I’ve resided in. I’ve lived in the Southwest all my life. Born and raised in El Paso, Texas – I spend five years in Las Cruces, New Mexico before moving to Phoenix, AZ.  I plan to research each state and find an exotic creature, preferably one I’ve crossed paths with.

Each artist has 1-2 or 3 works, all in China now, in their second venue.

Peter sends a note saying the exhibit is well received. I was pleasantly surprised how engaged and interested the students were, he says, spending an hour or more to look at the art closely. It was a great opportunity to converse on a wide range of topics which the subject matter in the art provided.

Last week I receive the catalogue. In this post I share one work from each artist and include the front and back cover. I am so pleased to see the quality and variety of the artwork. All the artist live and work in the Southwestern United States and each one brings a unique sensibility to the exhibit.

Earth&Sky_ASU catalogue_Page_05

Alice Leora Briggs, The Listener falls to sleep, Woodcut


Earth&Sky_ASU catalogue_Page_07

Binh Danh, #2 Saguaro National Park, digital print of daguerreotype

Earth&Sky_ASU catalogue_Page_08

Claudio Dichocea, de Amore Prohibido y el Anarquista, el Emsee 2.0, photolithograph

Earth&Sky_ASU catalogue_Page_10

Jason Garcia, Tewa Tales of Suspense #4 Behold…Po’pay!, serigraph

Earth&Sky_ASU catalogue_Page_11

Mark Klett, Slight Track and Red Clouds, Copper Mountains, digital photograph from gelatin silver print

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Michael Lundgren, Parasitic Weight, archival pigment print

Carrie Marill, Nature-T:Monument Valley, gouache on paper

Carrie Marill, Nature-T:Monument Valley, gouache on paper


Monica Aissa Martinez, Armadillo: Texas, mixed media on paper


Leigh Merrill, Denizens, pigment print

Earth&Sky_ASU catalogue_Page_18

Matthew Moore, Rotations: Moore Estates-Sorghum (homes) Wheat (roads), 35 acres, digital photogra

Earth&Sky_ASU catalogue_Page_19

Rose Bean Simpson, Know Thyself, ink on paper

Earth&Sky_ASU catalogue_Page_20

Will Wilson, Edward S Curtis, The Northern American Indian, Norwood, MA, The Plimpton Press

Between Earth and Sky, Contemporary Art from the American Southwest will travel to 4 locations:

Sichuan University 四川大学
March 11, 2015 – March 31, 2015: Exhibit at Sichuan University

Nanjing University of Posts and Telecommunications 南京邮电大学
April 6, 2015 – April 26, 2015: Exhibit at Nanjing University of Posts and Telecommunications

University of Shanghai Science and Technology 上海理工大学
May 11, 2015 to May 29, 2015: Exhibit at USST

Xi’an International University 西安外事学院
June 8, 2015 – June 22 , 2015: Exhibit at Xi’an International University

between earth and sky catalogue

Cover: Mark Klett, Contemplating the View at Muley Point, Utah, digital photograph from gelatin silver print
Backcover: Michael Lundgren, New Form, archival pigment print

The exhibition is a partnership between ACCEX – American Centers for Cultural Exchange and Arizona State University Art Museum.

the working artist

Your work is your responsibility and so is your career.
Crista Cloutier


Last week Crista Cloutier launched a Kickstarter campaign for The Working Artist at the cool Bentley Projects, in downtown Phoenix. It was the beginning of what will be for Crista, an intense month of campaigning to raise the funds to make The Working Artist available for all artists anywhere. I want to kick it off with a bang, she said, and a glass of wine!

As I learn about her project I recall when I left a full-time job to become a full-time artist –  I went through numerous business of art books. I watched my husband receive his education and set out in what appeared steady and progressive steps. I watched as he prepared and negotiated terms and salary.  I felt frustrated that there was no clear way I could see to get my work out, on my own. Between grad school notes, reading a number of business of art books and luck, I took some initial steps and met a curator and 2 gallery directors that would help me lay down ground work. I continue to meet people who teach me something I can utilize to keep going.

I understand the value of information. Crista’s workshop catches my attention. I decide to write about it. I have questions and she has answers….

Monica : Why did you launch your campaign here in Phoenix?

Crista : It was important to me to come back to Phoenix to launch my campaign because I knew that I would need a lot of support. This is my community, and no matter how far away I go, each time I return I am reminded that this is my community and these are my people. As I drive through town I see public art projects that I played a small role in, whether it was sitting on a committee or whatever. Years ago, I sat on the first panel that investigated building an arts center in Mesa, and look at it now! I feel a sense of pride in what we, as an arts community, have done by working together. And I think that we take that for granted sometimes because I rarely see such a strong sense of community and cooperation in other places.

I want to continue to be a part of this community here too. I intend to create The Working Artist project in Phoenix and will be traveling back and forth from London to do so. I believe that the talent is here and I trust the people.

M : Tell me about The Artist Workshop. How is it different from other things out there? Tell me a little about your audience and who your work is directed towards –  emerging or a more established artist.

C : I worked extensively in the art business throughout my career before I fled to Europe in order to begin my own creative practice. In my former life, I had worked in nearly every professional role. I collaborated with blue-chip artists as well as the just-emerging, and I sold their work to museums and galleries throughout the world.

I have always worked with artists and I know what their questions are as well as their challenges. And I understand how the art market works. I have tailored The Working Artist to give artists all of the information that they need to take their career to the next level, but in a way that is digestible and that artists can understand. Because when I first began selling art, I read all of those business of art books too. I found them confusing and the information was buried within the text. That’s just not how most artists digest information. It’s got to be visual and its got to be interesting.

M : I see myself as a more established artist here in Phoenix, and though I have exhibited nationally as well as internationally, do you think you have information that I would find useful to get my work out of the area more solidly?

C : I have worked with artists in all stages of their careers, from the daring-to-aspire to the solidly established. For the latter, I believe the questions that I ask are important to re-visit periodically. And I also know that some of our materials can use a bit of spit and polish. We challenge ourselves creatively, why not continue to challenge ourselves professionally as well?


M : How / Why did you create the workshop and why do you want to put it on the internet?

C : The Working Artist is a long-time dream. When I had my own gallery, artists would come in daily asking me to sell their work. No one understands how the art business works and they aren’t teaching this stuff in schools. I actually wrote a book years ago but my agent didn’t think there were enough artists to warrant pursuing it. Little did he know there are millions of artists…

I started teaching the workshop to small groups and then began getting invited all over – England, France, South Africa, Greece. Artists are hungry for this knowledge. But its expensive to fly me out to these places. By putting the program online as a downloadable educational program, any artist anywhere can have access to the information. And so I am running an online crowd funding campaign to raise the funds to do just that. And any artist who donates will be pre-ordering the workshop at a discount. They will also be grandfathered in to future programs and communities that I want to build. The website is

M : When you say art business, what are you talking about : showing/selling artwork, museum connection, galleries/juried exhibitions, trade shows, web site, blogging?

I am talking about all of those things and more. It comes down to getting your work seen. Art is a conversation between artist and viewer so it’s your job, your business if you will, to find an audience. And then to know what to do with that audience once you’ve got them.

M : How much control do you think artist should want in the showing and selling of their work, as opposed to the making of it – where artists want full control?

C : I think that artists should have 100% control of their career. I meet a lot of artists who express a desire for someone to just do it all for them. And I have met many artists who found that someone only to discover that they lost everything, or were represented badly. Your work is your responsibility and so is your career.

There are a lot of great artists out there whose work is not getting seen. Just as there are a lot of mediocre artists whose work is selling out. I believe that the difference lies in taking this responsibility for their business.

…I smile because she’s right, as artists – we have to be right-brained and left-brained creatures . A balance worth striving for, though not always easy.


Kiki Smith, Crista Coutier, Valerie Hammond

M : I saw a photo of you with Kiki Smith and Valerie Hammond, two great women artists. What were you doing with them? And last week I saw you at the monOrchid Arts’ Ball, here in Phoenix. You get around…across oceans, across the country …

C : I have recently curated an exhibition of new work by Kiki Smith and Valerie Hammond. During the course of the conversations about the show and the making of the work, I photographed the process. A book of my images and writings about the project will be released in a few months. But in the meantime, Kiki, Valerie and I have the great luck of following the exhibition as it shows in France, Atlanta, Savannah, and Hong Kong.


M : You’re a visual artist. What is your medium? You write as well don’t you?

C : I am a writer and photographer.

M : You received a mini grant through the Ted Decker Catalyst Fund. What does that support do for you? What did it allow?

C : Ted Decker supported my launch party, in part, with his mini-grant. Not only did that help me financially but Ted’s support gave me a huge sense of pride to belong to that legacy, one that I have admired for years.


Visit → The Working artist and consider supporting it. Each level of contribution offers something in return, it’s a clear win-win. Keep an eye on Crista, she’s got lots more brewing.

More about Crista and her artwork →

click  → 525622_10151291711428479_1302521887_n

*all photos (except Smith, Cloutier and Hammond) are by Crista Cloutier.

when the water came

This week as we mark the 7th anniversary of Hurricane Katrina, I find Rebecca Ross at work organizing a showing of When the Water Came: Evacuees of Hurricane Katrina. Even now as I write the post, current news focuses on the Gulf Coast as it experiences yet another hurricane, this one – Isaac. The timing is important and only adds more relevance to the work.

The exhibit which will run  August 31 – September 16, 2012, at eye lounge offers, in images and words, firsthand accounts that relate the dramatic stories of Hurricane Katrina
evacuees who relocated from Louisiana to Arizona. The photographs and
interview-poems featured in the exhibition are drawn from the book of the
same title by poet Cynthia Hogue and photographer Rebecca Ross.

Deborah Green © 2010
Rebecca Ross Photo

What : When The Water Came: Evacuees of Hurricane Katrina
Who: Interview-Poems by Cynthia Hogue
          Photographs by Rebecca Ross

When : August 31 – September 16, 2012
Artists’ Reception: Friday, September 14, 5 – 9 pm

Where: eye lounge: a contemporary artspace
419 E. Roosevelt St.
Phoenix, AZ 85004
Gallery Hours:
Friday, 5 – 9 p.m.
Saturday, 1 – 5 p.m.
Sunday, 11 a.m. – 3 p.m.
First Friday, 5 – 10 p.m.
and by appointment

The book When the Water Came: Evacuees of Hurricane Katrina is available locally at  Changing Hands Bookstore in Tempe, or through Amazon.

an inside look: phoenix artists…and so much more.

Artist / Designer / Photographer…and those are only three of the hats Anthony Zeh wears these days – man, the guy’s busy!

You may recall I wrote about Tony in February when he invited me to take part in his 100 Artists Portraits project. Last month he showed some of the photographs in the series (at Bokeh). He’ll show 25 more this coming First Friday, in the Onley Gallery, at Trinity Cathedral.

The project aims to educate and celebrate both the history and diversity of our arts community.  I particularly appreciate the mix Tony is capturing with that camera of his. The photographs depict artist at work, in studio – set next to a compositional slice of their materials. Here are a few photos to remind you of the series and share more of my favorites.

Timothy Chapman – Painter

Annie Lopez – photographic media artist

Colin Chilag – Painter

Jenny Odom Ignaszewski – Painter

You can see all the photos to date, and new ones as they go up, at his website.

Oh…and look at the other project that was birthed along the way. It’s titled Solo and it’s simple… great fun, great composition.

Solo Portraits

Tony photographed visitors to his Bokeh opening. He refers to the set as 100 portraits of people wondering through the art community. The head shots are full of variety: both introverted and extroverted expressions are to be found.

Are you enjoying the work Tony?
I enjoy the work immensely. It’s a great adventure getting to see how the  artists work and to see what their studios look like. I love connecting with new people and talking to them. This project has opened me up to that.

His excitement is clear, he continues…
In conjunction with the opening of the exhibits, I’m also shooting portraits of the people who come to the show. They are simple head shots, in the black and white style I have developed. This really lets me connect with the whole community!

More of these images can be seen at

I ask him if the main project changed in any way since he began it last August?
The project has pretty much stayed the course as the style has not changed. The speed at which I am photographing has unfortunately slowed down.  He explains it all takes time and it all costs money. He drives around the entire county to visit studios and photograph artists.  He’s working on raising funds.

I had a September goal for completion, but I don’t think that will happen. But what will happen is A Portrait of 100 Arizona Artists will be completed within the Arizona Centennial, with help and support from the community.

Tony sent me the pdf of the invitation (below).  I was certainly not expecting this pleasant surprise.

Anthony Zeh is documenting artists who work in various forms, with various content, and of various generations, who have participated in the shaping and encouragement of the artistic culture in metropolitan Phoenix, in the last 20 years. That’s an ambitious project and it’s pretty great.

I’m jazzed to be a part of the grouping.

WHO:    Olney Gallery presents                  
               Anthony Zeh 
WHAT:  Anthony Zeh Photographs
               An Inside Look: Phoenix Artists
WHERE: Olney Gallery
                100 West Roosevelt
                 Phoenix, AZ 85003
WHEN:    June 1st – August 19th, 2012
WHAT ELSE: *Tony will be shooting visitor
portraits from 7-9,  opening night only. 

Olney Gallery is located inside Trinity Cathedral, right in front of a great labyrinth.
After (or before) you see the exhibit,  walk the labyrinth.

So…what all is Anthony Zeh doing to get his project out, and raise funds…
here let me outline a few things as best I can…

his web site → A Portrait of 100 Arizona Artists
All prints of artists are available for purchase.


again…He’ll be shooting portraits at the gallery (all ages welcome) – opening night only.
He will offer 11×14 limited edition, signed Art Prints for $100.
Tony’s Smug mug account offers less expensive pictures.
No charge to have your photo taken, but you must sign a release.

Look at the community portraits, on his web site → Solo

And there’s a book! It’s for sale…click on the photo below.


He’s YouTubing too…didn’t I tell you…the guy is busy!

Email Tony for more info.

A Portrait of 100 Arizona Artists received a Ted Decker Catalyst grant.

Davidoff and Thiewes ‘punctuate the landscape’ in a new collaborative project

The energy of collaborating with another artist is incredible.
– Suzi Davidoff

I did plan, at some point, to write about the value of collaborations and residencies. This post covers both and includes two artists whose work I have known for many years. They both live in my hometown of El Paso, Texas.

Metalsmith Rachelle Thiewes and painter Suzi Davidoff’s current collaborative project, titled Common Language, Punctuating the Landscape, began solidifying in Fiskars Village, an artist colony in Finland. Seeded years ago, it was nurtured in a number of 2-person exhibitions. Like their individual styles, their partnered work expresses in exciting variety. It includes site specific installations, photography (printed on aluminum), video, sound, and a hardcover book.

Let me set the stage …

The artists
Rachelle Thiewes is an artist who creates jewelry that is designed to engage and challenge the wearer, making them an active participant, an initiator of sounds and body rhythms.

Light, movement, sound, order and chaos are integral elements of her work.

Rachelle Thiewes
Heat, bracelet, steel, auto paints

Rachelle is also a professor in the art department of the University of Texas at El Paso. She was my teacher throughout my college years. Her influence still affects the manner in which I come into the studio, and the care I bring to most everything I make.

Suzi Davidoff creates drawings, paintings, and prints. A series of walks or hikes is often the genesis for much of her work. In addition to charcoal, oil, gold leaf and ink, she uses found organic materials.

Suzi and I were classmates in both our undergrad and graduate studies. She attended the University of Texas at El Paso and New Mexico State University. I witnessed a turning point in her sensibility before she left NMSU, that still carries in her work today. 

They both speak about the influence of the Chihuahuan desert, where they live and work.
Rachelle comments on the light that can be … shriek and sharp and sometimes soft and sensual. Suzi discusses … organic forms that serve as a basis for her work…and found materials that are rubbed into the surface of the paper.

They’ve evolved in their collaborative process. Suzi refers to Beauty. Chaos, their first exhibit in 1999 … Rachelle and I were having a 2 person show at Adair Margo Gallery.  We both felt that our works had a lot of commonalities — even though they were obviously different in medium and scale.  

Installation shots of Beaty.Chaos at Adair Margo, 1999

Our second collaborationAir Patterns, grew from the idea of a book into a site-specific installation.  It consisted of steel drawings on the wall and translucent fabric panels with color and charcoal drawings. We both worked on everything together. 

Air Patterns, collaborative, installation at El Paso Museum of Art, 2004

Suzi continues ... We really wanted to work on another collaborative project, and applied for and received a Fiskars Artist’s Residency in Finland.  This gave us the chance to work without distraction for 2 months. 

Rachelle clarifies what the residency allowed them … time, time, time, hours of unplanned time waiting for us to fill…

About their current collaboration
When we begin talking about this, I have questions.
…Is this your two bodies of work, coming together? Do you influence each other? Do you connect via an idea or theme? Did you literally work on each piece together?

Rachelle answers first…Common Language is the name of our current project, she explains … we worked 100% together – came up with the sites/ideas, built the pieces and photographed.  There are no individual ideas present in this project.

Suzi adds…We share much of the same interests in the natural  world, in structure, pattern, historical use of the land, lots of stuff, and also we both bring completely different disciplines in terms of drawing/metalsmithing to the collaboration.  I think we both feel that Common Language is our most realized collaboration to date, because it is a totally grounded in our ideas/concepts, but the resulting work is unique and different than either of our individual works.

I recognize both artists sensibilities present in the new work. Suzi is correct because result and maybe process for that matter, are completely different from what they do separately.

The images below are some of the large-scale photographs (printed on aluminum). Two are from the Fiskars residency where the collaboration begins.  And two are from the West Texas and New Mexico desert, where their collaboration continues and is eventually completed.

Above Location: White Sands Missile range in New Mexico.

The above installation is at Fiskars.
The image below, I am very surprised to learn, is back home, in the desert.

 Photo below is in  Fiskars.

About the book
The book is in dialogue format and is narrated by Dan Lambert.  It’s a thoughtful and creative read. It comments on process. It includes the arrival of the artists to the residency and notes their natural uncertainty. You read about their eventual return back to their busy, multi-tasking lives.  And then there is all the creative stuff in between and after.

Like I said, Rachelle and Suzy are from my home town, I know the area well. To me they’ve brought a whole new feel to that part of the Southwest desert.

The book will clarify that the title Common Language refers to the Finnish landscape and the Chihuahuan Desert. Though there are more than a few connections between the two artists that allow for this collaboration to work and present in such a sophisticated way.

The books pull is in its honesty and simplicity.

Common Language, Punctuating the Landscape

The video
Watercourse  is the title of the video. I’ve heard only a short demo. It’s layered and meditative…some moving water.  The wonderful collection of sounds are by Dan Lambert and The Double Drum Trio. Instruments include ruan, percussion instruments and water drum.

Left side shot in Finland, right is the Rio Grande.

The show
I can only give you a glimpse of the work here in this post.  You can experience its full depth should you be in Albuquerque this summer.

Visit gallery and artist website for more information.

WHAT: Time Pieces: Common Language
Suzi Davidoff and Rachelle Thiewes

WHERE:  516 ARTS in Albuquerque, NM 
WHEN:  May 26 – Aug 11, 2012
It will include photos and video, and be accompanied by the hardcover book.

Rachelle Thiewes → website
Suzi Davidoff → website

the fearless beth lederman

I used to be a fire lookout on O’Leary Peak. I was a Forest Service employee for four years, musician Beth Lederman shares with me. My mom was the Woody Mountain Lookout for over ten years and my sister was the lookout on Mt. Ord.

You ‘looked’ for fires?

The fire lookout conversation leads to an interesting revelation …. I like to practice fearlessness, Beth comments.

I think of hand-stands. How do you ‘practice’ fearlessness? I ask.

…you know… walking in the dark.

I’d looked forward to meeting Beth Lederman for some time. And last Saturday I spent the afternoon photographing her.

My loves are Latin jazz, Brazilian jazz, straight ahead jazz, salsa and Latin music, swing, and anything else that grooves.  Among the various musicians she collaborates with, she also has a group she co-founded.  Novo Mundo was my band for a long time. We have a gig in April coming up, April 27th …Wine, WoMen and Jazz at the Az Culinary Institute. 

Beth plays keyboards and in fact can truly be called eclectic.

… back to fearlessness …

I practice being brave in front of audiences, in trying new things when I am improvising, in taking risks,  in playing with all kinds of bands – sometimes with people I have never met!. I try to just get up there on stage and help share the feeling of being strong, and confident, and tapped in to this bigger flow which is music/spirit/life.

I also practice doing things even though I am afraid…like taking on the job of being a Spanish teacher 3 years ago, or making mistakes when I speak in my non-native tongue, or sitting in at jam sessions.  …. you know … walking in “dark” places.

The afternoon goes smoothly. We get lots of great photos.  I’ve said this before, the performer is a natural in front of the camera.  She adds… experience has allot to do with it.

My hope with these shots, is that you get a glimpse of both Beth’s fluid nature, and  her grounded quality. It’s one great combination for a piano player/educator/woman.

For more about Beth Lederman, who’s been making music for over 20 years, visit → her website.

Note the → calendar because next weekend she’ll be performing at both the Mesa Arts Center (on Saturday March 10th) and at the Scottsdale Center for the Arts (March 11th).

Catch Beth live and while you’re at it pay attention to how she practices fearlessness.

Anthony Zeh – 100 Artist Portraits

I like to tell a story with my work, professional photographer Anthony Zeh says as we’re wrapping up the afternoon. He shows me a few images from his portfolio including this one below.  It’s a family portrait

… never boring, he notes.

Portrait of a family in their kitchen

I meet Anthony Zeh on Tuesday evening. Thursday afternoon he’s in my studio taking photos.

…Tuesday we attend the same artist lecture at the ASU art museum.  Carolyn Lavender introduces us.  Jon Haddock is also at the lecture. Tony wants to know if I’m working in my studio these days, and if so … might you be available for a photo-shoot …Thursday?

Thursday? Day after tomorrow?

Carolyn and Jon, both having already been photographed, suggest I take the opportunity. Also, I learn while Tony is in the studio, Joan Prior mentioned my name to him a few weeks earlier.

….all feels like kismet to me.

Artist John Armstrong

I’d noticed the artists portraits showing up on Facebook for some time now.  I didn’t know exactly what was going on but I knew something interesting was happening.  Tony began his 100 Artists Portraits in August of 2011. Is this in celebration of our Centennial? I ask. Yes it is, he responds.

Artist Carolyn Lavender

Tony will be showing a running slide presentation of 50 of the portraits for the weekend of Art Detour. And as of now, the plan is to show the completed project at Bragg’s Pie Factory on Grand Ave. in September of 2012.  You don’t have to remember the latter, I’ll remind you.

If all works as planned he’ll have worked on 100 portraits in 12 months time. You do the math.

Artist Jon Haddock

The photos are compact, exciting, and telling. Artist is pictured working, in studio, with materials collaged into the composition. I mention they have a 3-D quality about them. Zeh explains it’s the 3-photo process he uses that brings out the various layers. It’s called HDR, High Dynamic Range.

Arizona is 100 years old. The 100 Artist Portraits series when complete, will document important work, at an important time.  I know many of the artists in the series thus far, but not every single one of them. He’s capturing one brief moment in time. To see the exhibition in its entirety will be valuable, it will represent something I am a part of…the wide range of creativity that is present right here, right now…

Thanks Tony, for capturing the nitty-gritty (truly) of it all…

WHAT:  A Portrait: 100 Phoenix Artists (Half Way Show)
WHO:   Anthony Zeh
WHERE:  Arizona Center, 400 Phoenix, AZ 85004 – Across from New York & Company
WHEN: ART DETOUR March 17th and 18th

Plan to check out the photos yourself. Let Anthony Zeh share some of his work and some of his process with you.

For more info or to contact Anthony Zeh visit his website.
Click on each photo to go to artists website.

pianist and vocalist

I met Pamela Morita during the Yoga, Music, and Art weekend, Meg, Mary and I hosted last December. She was part of the live trio that played that Sunday afternoon. Mary Petrich (on Sax), John Chapman (on Bass) and Pam on keyboard. Her vocals were sweet and rich with emotion. She closed the afternoon meditation with a beautiful rendition of I Can See Clearly Now.

Last week Pam contacted me, and asked if I would photograph her.  She’s having a new web site designed and wanted images.  I was happy to oblige.  I designed and created Mary’s site, which included photographing Mary with her sax. Pam liked the work I did, and wanted me to shoot her as well.

She came over to the studio on a Tuesday afternoon, and we got right to work.  She mentioned being nervous or uncomfortable with being photographed, though she appeared to be a natural to me. It must be the performer element in her, I told her afterwards, the one that visual artists for the most part, don’t have (unless they’re performers).

A little about Pam and her music…

Pam holds a master’s from the University of Illinois in Urbana-Champaign. A professional pianist/singer since 1980, she started in Chicago and played at the Drake Hotel, Park Hyatt Hotel, the Fairmont, the Palmer House, well-known jazz clubs as Andy’s and the Green Mill. In 1985 she traveled to Sweden where she played/sang in clubs around the country and onboard the Silja Line Cruise Boat, which sailed between Helsinki and Stockholm. In 1994,  moving to Norway she met  Swedish jazz artists Ronnie Gardiner and Johan Setterlind who recorded her first CD, Strings that, with her. She also met Doris Spears, a jazz singer from New Jersey, who collaborated with Pam to record her CD, The Duchess. They toured together traveling throughout Scandinavia.

In 2000, Pam moved to Phoenix. While in the valley, she’s played in the C.C. Jones Orchestra, performed with musicians Dennis Rowlands, Sherry Roberson, Felix Sainz, Dave Grale, Dennis Sexton, Paul-Eirik Melhus, Richard Palalay, Andy Gross, and Paul Anderson.

Pam, Mary Petrich, and John Chapman have formed an acoustic, jazz trio which caters to intimate venues like private parties, home concerts, and weddings…and events like our Yoga, Music, and Art Afternoon.  Their repertoire consists of jazz standards, originals, and classical music.

Pam really is  a natural…in front of the camera, and in front of an audience. Catch a live performance and hear it for yourself.

Pam will be performing tonight and next Friday night:

Who: Pam Morita piano/vocals

Where: Electric Eel Restaurant
30815 N. Cave Creek Rd. Cave Creek, AZ
(N of Tatum, SE corner of Cave Creek and Desert Willow Parkway)

When: Saturday, Nov.13th and
Friday, Nov. 19th
6:30 pm – 9:30 pm

Call: 480-595-9000 for more info.

Pam also teaches.
To hire Pam for concert and/or teaching contact her at: (602) 478-1676 or e-mail: Pam