This month, since I?m trying to break a few bad Newsletter habits, I?d like to do more than simply gush empty comments of praise. I?d like to take the time to tell you the real reasons behind why I appreciate the work of Folk Fabric Artist Deborah Ann, the featured artist this month at La Familia Gallery.

First of all, I?d like to say that the complexity of working with fabric is often overlooked by modern viewers. Due to the fact that few people these days own a needle and thread, it is understandable that they would not understand the difficulties surrounding tulle or the frustrations of knits.

To make it more understandable I?d like you to imagine painting a picture using only another artist?s brush strokes. Not only that, but those strokes have been painted on a variety of surfaces that you have to deconstruct and put back together in a manner that is entirely in your own voice. Hard to imagine isn?t it?

This describes what fabric artists such as Deborah Ann do everyday as they carefully cajole difficult fabrics and wild patterns into new, dynamic works. And somehow they make it appear effortless, as though each piece of fabric was designed with the solitary purpose of telling the artist's story.

I am continually impressed by the manner in which Deborah Ann tackles this task. Painstakingly directing her fabrics, she pays apt attention to the fact that quilting is as much about what is added as what is taken away. Combine this with her solid balance of traditional seams and contemporary edges and you have works that stand out in the very competative world of quilt making.

Rebeqa, the Director of Music at La Familia Gallery, has been teaching in Seattle since 2003 and moved her studio to La Familia Gallery after we opened in 2005. A classically-trained opera singer, Rebeqa works one-on-one with her students to meet their specific vocal needs and goals. Her students range from lead vocalist concerned with building and protecting their voices, to individuals interested in the basics of a vocal education.

In order to focus on her solo projects, Rebeqa has kept her student list small, connecting with students primarily through referrals. This has led to our negligence in letting our family and friends know we offer such a service.

All we have to say now is, ?Shame on us?.

Although the first step for artists at La Familia Gallery is nepotism it is only the beginning of a long process. After an artist has been referred, it is time for me to delve into days of critical analysis and hours of deliberation before finally making my decision.

I take the task of choosing artists deeply to heart and tie my choices heavily to historical context, current markets, and artist potential. In order to do this I stay current by traveling regularly, reading endlessly, and listening tirelessly to what people are saying about art, past and present.

This is not to say that I know the name of every artist or movement out there. With the current bombardment of information available it would be an impossible feat. In fact, my brain often feels so full of information I?m not certain how it is all going to boil down. Eventually it does and I find myself with a clearer and more definable view of the artists I represent.

When I consider the fact that I?ve been obsessively studying art for over fifteen years and I still barely feel able to stay abreast of what?s what, I can?t imagine how frustrating it must be for those who only have time to follow it in their spare time.

In order to help you sort it all out, I?d like to recommend a few sources that will keep you current without driving you crazy. Here is a short list of my favorite resources for keeping current, even when I'm short on time.

First, I have two favorite e-mail resources that I rely on to keep me informed day by day and week by week:

ArtInfo is an e-newsletter that sends me moment to moment information on the latest art fairs, legal battles, biggest sellers, new artists, and hot art picks from around the world.

Seattle Artists is a local site that sends out a very nice compilation of what is happening around Seattle each week. I find it to be a great quick reference when I want to know where to go and what to see.

Second, I subscribe to two art magazines. Each covers a different aspect of the art world and allows me to find a balanced perspective and perceive trends more clearly.

Art in America is an in-depth view of the business and history of art. I await its arrival with baited breath each month. Then I devour it from cover to cover.

Art News, on the other hand, is the People Magazine of the art world. They write about who is collecting, what they are buying, who is selling, and who is showing.

The main thing to remember in all this is: keep it simple. If you try to take it all in you can get overwhelmed and discouraged. Instead, find four or five reliable sources with a balance of local and global perspective then read them steadily.