Culture Crush: Fog Holler, Mindful Eating Film Festival, and More

Petaluma

Fog Holler 

Head over to The Block this weekend for a night of music and coordinated outfits from Fog Holler. Formed in 2018, the group claims to pair “raw, honest poetry with keening brother duo harmonies reminiscent of the Stanley Brothers and the Blue Sky Boys.” They describe their original music as “at once a poignant, self-reflective reaction to modernity and a vibrant celebration of American roots music.” The group recently released their fourth album, Fog Holler, which explores themes including mental health, climate crisis, gender identity and more. Tough content becomes easily digestible when paired with the right melody. Come have a night out and explore the world through Fog Holler’s eyes! The show is this Friday, Aug. 5, at The Block, 20 Grey St, Petaluma. Show from 6-9pm. Free. www.theblockpetaluma.com 

Marin

Mindful Eating Film Festival

Spend this weekend in an entertaining and meaningful way by attending the 3rd Annual Mindful Eating Food & Film Festival at the Marin County Civic Center and Fairgrounds. This event is produced by Rancho Compasión in Nicasio, a Bay Area urban animal sanctuary for misused farm animals. The film festival offers an opportunity to sample plant-based food, meet humanitarian changemakers, view documentaries, and learn about animal welfare and the food we eat. Opening night includes a “Green Carpet Gala” and the West Coast premiere of The Smell of Money, produced by actress Kate Mara. Food from Miyoko’s, OmniPork and Souley Vegan will be available. Proceeds from the festival will support the lives of over 90 rescued sanctuary animals, as well as students and community members engaging in the humane education programs. The festival opens Saturday, Aug. 6 and runs through Sunday, Aug. 7 at the Marin County Civic Center and Fairgrounds, 3501 Civic Center Dr., San Rafael. Tickets for a 5pm VIP reception and film screening of The Smell of Money on Saturday at Dominican University are $100. Tickets for films on Sunday are sold separately. www.ranchocompasion.org 

Cloverdale

Fruits of Labor

Fruits of Labor, a film that documents a Mexican American teenager’s struggle to graduate high school when increased ICE raids take place in her community, is showing this weekend in Cloverdale. Set in an agricultural town on the central coast of California, this is a coming-of-age story about a teenager facing circumstances that keep her family trapped in poverty. Following the film, Dr. Daniela Domínguez will moderate a Q&A with director Emily Choen Ibañez. Funds raised through ticket sales and donations will go directly to La Familia Sena’s emergency relief funds, which provide an emergency safety net for the most vulnerable community members. Fruits of Labor screening and Q&A is Saturday, Aug. 6, 6pm, at the Cloverdale Performing Arts Center, 209 N Cloverdale Blvd. Tickets are $25 pre-purchased on the website or $30 at the door. www.lafamiliasana.org 

Healdsburg

John Jorgenson

Calling all music lovers for a night of elite guitar playing from John Jorgenson and his quintet at the Raven Performing Arts Center. A globally renowned guitar player, Jorgenson has recorded and/or toured with Elton John, Tommy Emmanuel, The Byrds, Bob Dylan, Willie Nelson, Johnny Cash, Emmylou Harris, Barbra Streisand, Luciano Pavarotti, Roy Orbison, Patty Loveless, Michael Nesmith, John Prine and Bonnie Raitt, to name but a few. He and his quintet are known as the “U.S. ambassadors of gypsy jazz.” Their sound is reminiscent of the Django Reinhardt style that came out of Paris in the 1930s. In fact, Jorgenson himself played Reinhardt in the Hollywood feature film Head in the Clouds. Hear the legend Saturday, Aug. 6 at The Raven Performing Arts Center, 115 North St., Healdsburg. Show starts at 8pm. VIP: 1st six rows center, $45; general admission, $25. www.raventheater.org 

—Jane Vick 

Sierra Camille’s Aerial Magic

Hello, my loves! I hope this finds everyone feeling a bit better than before, and that last week’s “Look” brought a glimmer of meaning, usable in the tougher moments. Though I still feel a bit like a succubus on legs, I’m endeavoring to move through.

As promised, this week we return to our usual programming, and welcome to our column’s stage the talented performer and trapeze artist Sierra Camille. 

Camille grew up “talking too loud and making as much noise as possible” in Santa Rosa, exploring the world of dance, aerial silks, comedy and clowning. In short, she was being a one-woman-circus. 

Following her passion led Camille to co-found Levity Aerial Troupe and Skytopia Aerial Arts. Now based in Oakland, she offers classes on character building (who are you as a performer?), conditioning, choreography and performance technique, and more. 

Camille is currently on the road, touring the West Coast with Circus Nonsense. She took a moment from her wild life on the road to answer a few of my questions. 

JV: How was growing up in Santa Rosa? 


SC: I feel really lucky to have gone to high school in Santa Rosa. Being in Artquest at Santa Rosa High School was really formative for me. Being surrounded by a bunch of other weirdo art kids was one of the first times I really felt like I fit in anywhere.

JV: What do you love most about aerial silks?

SC: Of course I love the feeling of flying on silks, but also circus and training aerial has given me such a wonderful relationship to my body and what I’m capable of. Being really strong is incredibly fun and inspiring. 

JV: Do you do circus performances full time? 

SC: I’m a full time circus performer. I freelance for different circus companies, and I’m currently setting up my own production company, so I can create ensemble-based aerial theater and circus shows with other performers. Our first show will be coming next spring. I’ve been able to chase this dream thanks to my “Patron Camilleons,” who support me on Patreon.

There you have the scoop, my dears! She’s a sight to behold. So, once the Oakland-based aerial queen is back in the Bay Area, stay tuned for a performance near you. To learn more about Sierra Camille, visit www.sierracamille.com

—Jane

Jane Vick is an artist and writer currently based in Oakland. She splits her time between Europe, New York and New Mexico. View her work and contact her at janevick.com.

Fighting flares up again between local officials and mariners living on Richardson Bay

The Richardson Bay Regional Agency (RBRA) seized a pregnant woman’s boat that was anchored out near Sausalito, snatching it two weeks ago while she’s living on land preparing for her baby’s birth in August.

The boat’s owner, Kaitlin Allerton, 28, filed a lawsuit in federal court against the RBRA last week and was granted a temporary restraining order, which stopped the local government agency from destroying her property. 

For years, the RBRA, a joint powers authority of Mill Valley, Tiburon, Belvedere and Marin County, has been seizing and crushing boats belonging to people living on Richardson Bay, making them homeless in the process. The practice has created a combative relationship between the RBRA and the mariners, who contend the agency has no authority on the federally designated special anchorage. 

In a July 25 hearing before U.S. District Court Judge Maxine Chesney, Allerton was denied a preliminary injunction, clearing the way for the RBRA to destroy her vessel. However, Allerton’s underlying lawsuit, which challenges the RBRA’s authority and seeks monetary damages, still stands. 

While leaving the courtroom, Jacy Dardine, an attorney for the County of Marin who is representing the RBRA, confirmed that the agency plans to demolish the 32-foot sailboat on a yet unspecified date, which will leave the expectant mother and her family without a permanent home. Until then, the vessel remains in dry dock storage at the San Rafael Yacht Harbor, costing the RBRA $70 per day, according to court documents.

It’s not the first time the RBRA has targeted Allerton, who has lived aboard her boat, the Silver Bow, for the last four years. In March 2020, the RBRA seized the same vessel from her while she was staying on land just after giving birth to her first child.

Allerton succeeded in getting her boat returned to the anchorage after the 2020 seizure. No legal action was necessary because Allerton spoke directly with Beth Pollard, the then-executive director of the RBRA, and the harbormaster subsequently released the Silver Bow.

Both times the RBRA has seized Allerton’s property, it stated the sailboat is “marine debris.” Allerton disputes the allegation, saying the boat is valuable because of its rarity. Very few were produced and enthusiasts covet the Kendall 32, a cruising boat built in the ’70s, according to Allerton.

The curious timing of the RBRA’s two decisions to confiscate Allerton’s boat did not escape the judge. In fact, she noted it during the hearing.

“You can’t wait until every time she’s pregnant to pull the boat out of the water,” Chesney said.

Obviously, the RBRA believes otherwise. The San Francisco Bay Conservation and Development Commission, a state agency, gave the RBRA an ultimatum last summer—clear Richardson Bay of all anchored out boats by 2026 or face enforcement. The RBRA opted to get rid of the boats.

According to both agencies, the boats’ anchors destroy the eelgrass, a subaquatic plant that certain animals rely on for food and habitat. The RBRA is tasked with restoring the eelgrass.

When the agreement was announced last August, the chair of the RBRA board of directors, Supervisor Stephanie Moulton-Peters, told the Pacific Sun the harbormaster would not be posting 10-day removal notices on boats while the occupants are living at the Sausalito homeless encampment or “going to the grocery store or doing whatever they’re doing…”

However, Stephen McGrath, interim director of the RBRA, said in an interview last week that all boats on the anchorage are there illegally, suggesting boats can be tagged for removal at any time. The RBRA seems aware this tougher stance might cause some image problems, which is probably the reason the agency recently hired Lighthouse Public Affairs, a public relations firm.

The tight-knit community of mariners isn’t going to leave quietly. Allerton, whose family has lived on the anchorage or waterfront for four generations, hopes her lawsuit will provide a path for others to save their homes, although Chesney’s green light to allow the RBRA to destroy her boat was a blow.

The few spectators in the courtroom were somewhat surprised the judge ruled against Allerton on the preliminary injunction, especially after agreeing that Jim Malcolm, the RBRA harbormaster, had sent confusing email communications about whether the Silver Bow would be seized, and, if so, when.

The current conflict between Allerton and the RBRA began on July 27, after Malcolm posted a notice on the Silver Bow stating the boat is marine debris and needs to be removed within 10 days or it will be seized and destroyed by the agency. Fellow mariners who were watching Allerton’s boat informed her immediately that Malcolm had tagged the boat.

Allerton called Malcolm the same day. After discussing the issue, they seemed to have reached an agreement, which the harbormaster confirmed in an email on June 28:

As we discussed, the 10 day marine debris notice for Silverbow stands. However, the RBRA will not take action on this notice for a period of 21 days ending on July 20, 2022 if the following conditions are met: 1. SilverBow is moved out of the Eel Grass Protection Zone, to the area of the anchorage south of Marker #4. 2. You make immediate efforts to sell the vessel. If at/prior to the 21 day mark (July 20, 2022) you can show that you have an offer on the vessel, or have made a sale which will result in the SilverBow departing the anchorage, or continue to make considerable effort to sell the vessel the RBRA will consider an extension to this time.

Subsequent emails from Malcolm to Allerton repeated the July 20 deadline. Yet, on July 12, the RBRA had the Silver Bow towed to the San Rafael Yacht Harbor. Malcolm sent an email to Allerton stating that her boat would be destroyed the following week.

Despite the confusion, Judge Chesney had concerns about Allerton living on the Silver Bow, including its current condition. Photos provided to the court by the RBRA showed a large amount of seagull waste on the boat.

“The pictures of the boat are pretty disgusting,” Chesney said. “It’s no place for you or a child.”

Allerton admitted she failed to keep it in tip-top shape since she moved on land for the last few months of her pregnancy. The guano is the result of the mating season for seagulls. Prior to moving back onto the Silver Bow after her first child was born, she ran into the same problem and cleaned the boat herself. The mariner community has offered to help.

Other issues surrounded the RBRA’s claims that the boat’s sails are deteriorated. Malcolm mistook a canvas boom cover for the mainsail, which is in storage and in sound condition, Allerton said. Although the RBRA stated the boat’s tiller is inoperable, it is actually tied down to prevent it from making noise, according to Allerton.

In the end, none of this was enough for Chesney. Even with the Silver Bow cleaned up, Chesney didn’t believe Allerton could find an affordable slip for the boat and said no documentation had been provided to prove the boat’s value.

In addition, Chesney said there was not an agreement between the RBRA and the boat owner because each side needs to give something of value and Allerton had nothing to give. Chesney encouraged Allerton to consider the RBRA’s new boat buyback program, which offers all anchor outs $150 per foot, provided they meet certain conditions.

Allerton has decided to stay on course and pursue damages from the RBRA through litigation. For now, she’s focused on her two-year-old son and the upcoming birth of her baby. All things in due time.

The Dangers of Comfort and Compromise

I am writing in response to Don Erikson’s essay on last week’s Open Mic page, in which he advocates finding common ground as well as avoiding topics of race and politics to better get along with those who disagree with us. Although I find his sentiment laudable and well-intentioned, I believe it to be ultimately harmful and wrong.

First, the left and right are NOT equally at fault for the current division in our country, as Mr. Erikson implies. There is no radical left; there is a socially responsible left that crusades for the needs and welfare of all people and the environment. However, there is a radical right, manifested in an increasingly nationalistic, white supremacist Evangelical Christian movement with the GOP that is steadily moving toward fascism and is gaining power and political influence.

We have a national affinity for comfort and convenience. Hence, many liberals are reluctant to stand up to the various outrages we are witnessing from the right. We are cautioned against “making things worse” and to wait for the “right time” to make changes (BTW, when is the right time??). It’s so much easier to avoid conflict and find common ground that upsets no one. This is a doubly seductive stance because not only is it comfortable but seems so much more evolved and enlightened than the messiness of conflict. Glossing over the pressing and critical issues that confront us is actually facilitating evil under the guise of getting along that neatly fits into our comfort zone.

I do not disparage Mr. Erikson or those sharing his view, which is commendable yet flawed. Compromises made by the left will not be reciprocated by the right.

This is a time to defend the principles we profess to believe in, which include calling out and fighting against that which is harmful to our people and environment. In the words of the late, great John Lewis: “Get in good trouble!” Let’s make things better and not be afraid of the trouble that is an inevitable part of the struggle for what is right—our country deserves it.

Christopher Newhard lives in Cazadero.

Art of Living from the Romans

When we complain how our education system doesn’t prepare young people with the skills they need for real life, we usually mean pragmatic things reflecting the fluctuating needs of the marketplace and innovations in technology.

But the most useful skills in the world are useless if you can’t manage life itself.

Two thousand years ago, a manual was written containing some of the most timeless wisdom ever committed to parchment. Penned by a disciple of Epictetus (pronounced epic-TEET-us), a second-century Roman philosopher, the book encourages one to cultivate a detached attitude towards life, withstand adversity and pursue the highest virtues. 

It was lately given a freeform interpretation by Sharon Lebell under the title The Art Of Living: The Classical Manual On Virtue, Happiness And Effectiveness, and it is the one self-help book everyone should own, consisting of pithy tidbits to read each morning before venturing forth into the world. Here are a few examples: 

  • As you think, so you become.
  • First say to yourself what you would be, and then do what you have to do.
  • Regardless of what is going on around you, make the best of what is in your power, and take the rest as it occurs.
  • Attach yourself to what is spiritually superior, regardless of what other people think or do. Hold to your true aspirations, no matter what is going on around you.
  • Most of what passes for legitimate entertainment is inferior or foolish and only caters to or exploits people’s weaknesses. Avoid being one of the mob who indulges in such pastimes. Your life is too short, and you have important things to do.
  • There is only one way to happiness, and that is to cease worrying about things which are beyond the power of our will.

As you can see, the crux of Epictetus’ thought centers around the simple premise of taking responsibility for that which you can control and letting go of all that which you can’t. In the middle of the 20th century, this notion would become the foundation of the branch of psychology known as Cognitive Behavioral Therapy.

But perhaps most interesting is the context in which this wisdom was expounded. While Epictetus was writing his practical maxims, Rome was in steep decline with a thousand-year dark age on the horizon. And yet here we are two millennia later, still reading Epictetus’ wisdom, thereby proving the truth of his words, that the timeless realm of the soul really does transcend the rise and fall of empires.

Notes from the Set of (Not) a Werewolf Film

When news editor Will Carruthers offhandedly suggested I write a dispatch from the set, he had no idea I had been keeping a production diary.

Films are what I do when I’m not newspapering, and this particular film, presently titled Wolftone, is a bit of Gen X angst spun as a rom-com but with fangs and fur.

It’s a werewolf movie that takes pot shots at Herman Hesse’s Steppenwolf (not a werewolf book, mind you), horror genre idioms, but mostly my generation’s commitment to not aging gracefully, the (de)evolution of traditional relationships and how second chances are seldom on our own terms.

Some might say this is a vanity project (I write, direct and star), but I’d like to think I’m taking one for our Team X, saying what a lot of us have been thinking. Trust me, this is not a flattering piece of material. But I am stoked to join the ranks of such quasi-contemporaries as B.J. Novak (congrats on Vengeance!), as well as ancient writer-director-actor antecedents—from schlocky Ed Wood to artiste Orson Welles.

As culture writer Andrew Bloom wrote when mulling the spectrum between Wood and Welles, “all art contains a piece of the author’s soul, from cinema’s highest highs to its lowest lows, and that fact connects everyone with the foolhardy impulse to try to make good on the impulse to create.”

I agree with Bloom wholeheartedly and I applaud all artists, however they heed the call—filmmakers in particular. And by “filmmakers” I mean all those hearty souls participating in every aspect of production. These are precisely the kind of people with whom you would want to venture into deep space. You have no idea where you’re going and if you’ll ever get home, but the hope is to eventually share something amazing everyone can someday see for themselves.

Films are impossible but not implausible, which is why they still happen. 

And so far as one’s aesthetic ambitions will lead where they may, the drive to make these cinematic monsters necessarily derives from a collective spirit. And that, ultimately, belongs to the audience. Over flickering fires to cinematic streams, movies and their progeny are how our culture best reflects itself.

But culture ain’t what it used to be. We exist in atomized algorithmic-driven niches now. The blockbusters and water-cooler attractants of yore have given way to an amazing glut of “content,” nearly as many shows as subscribers. 

So, why make independent films in this climate? As Quentin Tarantino reminds his casts and crews when goading them into a final take: “We love making movies.” 

That’s why.

‘Bohemian’ and ‘Sun’ editor Daedalus Howell is directing his second feature film. Find him at daedalushowell.com.

‘Drowsy Chaperone’ Awakes in Sonoma

“I hate theater.”

No, that’s not the long-suspected confession of a theater critic. It’s the opening line from the Sonoma Arts Live production of The Drowsy Chaperone, now running through July 31.   

That line, followed by a litany of complaints about modern theater (shows are too long, actors shouldn’t interact with the audience, Elton John, etc.), is uttered in darkness by a disembodied voice. The lights come up on a gentleman (Tim Setzer) sitting in a comfy chair next to a record player, surrounded by Broadway musical cast albums.  

The “Man in Chair” is feeling a little blue and usually finds solace by escaping into the fantasy world of Broadway. After first considering an escape to River City, IA via The Music Man, he decides to return to the decadent world of the 1920s, as presented in the classic Broadway musical, The Drowsy Chaperone (an entirely fictional show). As he plays the soundtrack, the characters from the show appear in his apartment and the audience is treated to a play-within-a-play, which is an amalgam of showbiz musicals of the time.

Broadway star Janet Van De Graff (Maeve Smith) seeks to give up the stage to marry the man she loves (Stephen Kanaski), much to the chagrin of her producer (Pat Barr). Under pressure from an investor and his gangsters (Rick Love, Kaikane Lavilla), the producer schemes to break things up by having a Latin Lothario (Andrew Smith) seduce Janet. Will love win out in the end? Need one ask?

The Man in Chair provides running commentary throughout the show, which also includes a staid butler (Sean O’Brien), a harried best man (Jonathen Blue) and, of course, a drowsy chaperone (Daniela Innocenti Beem).

Despite its opening line, Chaperone is a love letter to musical theater. There’s singing, dancing, comedy, colorful period costuming by Rebecca Valentino and just a wee bit of heart. Director Michael Ross shows a sure comedic hand in guiding his cast in threading the needle between loving parody and outright spoof.

Talented North Bay regulars populate the large cast, with Setzer the calm but bitingly amusing center of the on-stage storm. Sherrill Peterson’s band delivers the music, Maeve Smith and Dani Beem deliver the vocals, and the entire cast delivers in the Liz Andrew-choreographed numbers.  

The Drowsy Chaperone delivers a lightweight escape for all. 

‘The Drowsy Chaperone’ runs through July 31 at Andrews Hall in the Sonoma Community Center, 276 E. Napa St., Sonoma. Thurs–Sat, 7:30pm; Sun, 2pm. $25–$37. 866.710.8942. Proof of vaccination with ID and masking are required to attend. sonomaartslive.org

Look Within—Finding Meaning in Darker Moments

Hello, loves! It’s been far too long—how does this find everyone? 

I’ve been away from “Look” for myriad reasons. Before I return to my usual programming, which has evolved from fashion to highlighting the unique and inspiring human beings of Marin and Sonoma counties, I want to dedicate this week’s column to a topic very meaningful to me: how we are doing.

I, for one, am not really okay. Since late 2019, things haven’t felt okay, right up to this moment. I’m sitting on my balcony, riddled with another bout of Covid, despite my two vaccines and a booster, listening to a festival in downtown Oakland and feeling like an alien on planet Earth. The steady drip of bad news—inflation, the tsunami of technology and the disintegration of our government—are enough to leave anyone (me) feeling like the American dream we were promised probably never existed, or, if it did, is dying an ugly death on the table. 

Mental health is tenuous, connections are difficult. Loneliness tints eyes locked to a social media feed a shade of washed blue. Things like meeting a stranger at a coffee shop—things I used to take for granted—are out of sight in my rear-view mirror. 

I don’t know if things will ever return to the way they were. I’m only 30, and lately it’s seeming like the more years I accrue, the emptier my head gets. It’s hard to predicate anything with the youthful self-assurance all my years of philosophy and poetry gave me during college. Life feels much bigger, much more unruly, though it was all the philosophers and poets were writing about.

There are days when things feel a bit too much. There are days when I feel myself wrung out like a sponge, searching for a drop of humanity left. 

For anyone, anyone at all, who is feeling this way, I offer this Frederick Nietzsche quote, which gives me solace and even a sense of meaning during the darker days: 

To those human beings who are of any concern to me I wish suffering, desolation, sickness, ill-treatment, indignities—I wish that they should not remain unfamiliar with profound self-contempt, the torture of self-mistrust, the wretchedness of the vanquished: I have no pity for them, because I wish them the only thing that can prove today whether one is worth anything or not—that one endures.

Next week, space willing, we will return to our usual programming. For this week, for those struggling with the weight of the world, may we endure. 

Love always and to the best of my abilities, 

Jane

Jane Vick is an artist and writer based in Oakland. She splits her time between Europe, New York and New Mexico. View her work and contact her at janevick.com.

Exhibition Exploring Shape and Color Opens at O’Hanlon

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Mill Valley’s creative epicenter, the O’Hanlon Center for the Arts, is unveiling yet another evocative exhibition next week. 

Running throughout August, “THEORY FORWARD: Shape, Line, Color, Surface/Texture” features work from Bay Area artists Holly Wong, Peter Crompton, Heidi Breuckner and James Vogel. Vogel, who also curated the exhibition, is a longstanding member of the center and is perpetually inspired by the gallery space, which served as founder Dick O’Hanlon’s studio until his death in 1985. 

“The gallery has a ceiling close to 30 feet high, and lots of windows, and a mezzanine up top. It’s really a dream space,” Vogel said. 

The show is inspired by the tactical, visual and dimensional elements of art rendering, as interpreted by each artist through their vastly different styles and mediums. 

The Space

The O’Hanlon Center for the Arts was founded by Ann and Dick O’Hanlon as Sight and Insight Art Center in 1969. Located at the base of Mt. Tamalpais, it sits on two acres. Both Ann and Dick O’Hanlon were artists who valued and fostered arts in the Bay Area. Ann founded the art department at Dominican College, and Dick was a prolific sculptor and professor at UC Berkeley, which houses one of his most famous pieces, Sunstones II. 

In 2004, the Sight and Insight Art Center changed its name to the O’Hanlon Center for the Arts, to accommodate the growing offerings of the space, including theater, literary and healing arts. The center’s mission statement is: “With joyful hearts and curious minds, we honor each individual’s creative exploration, encourage artistic practice and offer the freedom to begin, discover, express and reflect.

The Artists

Peter Crompton, who came to Santa Rosa in 1999, is a large-scale sculptor known for such pieces as Athena’s Hollow Head in downtown Cotati and Hands and Balls—maturity people, please—at the Lagunitas Brewing Company in Petaluma. His work’s grand scale creates a titanic amplification of his subject matter, and the sense of inspiration unique to very big things. Also a set designer, Crompton has curated stages for Opera San Jose, Marin Theater Company and the Lake Tahoe Shakespeare Festival. His “increasingly bizarre” sculpture garden, which he tends with his wife, Robin—an artist as well—is open every October for Sonoma County Art Trails, an annual event during which local artists invite the public into their studios. 

Heidi Breuckner, an Oakland-based artist and professor of art at West Valley College in Saratoga, draws inspiration for her work from the times she spent in European museums while studying at the University of Heidelberg and The Goethe Institute in Germany. Breuckner’s work spans a variety of genres, from abstract to still life. Her series “Monsterbet,” featured in the upcoming O’Hanlon show, depicts a different monster for every letter of the alphabet. These creatures are lurid in color, dynamic in expression and tactile in rendering. 

James Vogel completed his undergraduate degree at UC Berkeley and his MFA in museum studies at Tufts University in Massachusetts. Vogel works in oil and straw, among other media, exploring chosen subject matter as directly as possible and paying close attention to shape, line, color, surface and texture—all the concepts which inspired this exhibition. His work in straw is tactical masterpiece—the kind of art one agonizes over not being able to touch. Vogel’s piece, Cosmic Formation, featured in the show, is a rendering in pastel chalk of a straw ball, a visual feast of color and texture. 

Holly Wong studied at the recently closed San Francisco Art Institute, where she graduated with her MFA with a concentration in new genres. Wong’s work, like that of the other three artists in the show, is expansive and cross-media. Vogel refers to one of Wong’s styles as a “deconstructed painting,” including a three-dimensional installation of gauzy, glittering, light-catching work that looks like the map of a dream, or the dendritic veins of a goddess—these pieces must be seen to be fully appreciated.  

Though Wong was trained as a painter, she later began to transition into installation, using unorthodox materials like cellophane and dichroic film, to utilize and incorporate light. Guardian of the Spirits, which sits on the first floor of the exhibition, is a 17 feet across and 12 feet high suspended installation of silk, organza, cellophane, dichroic film, gold lame and vinyl tablecloth, among other media. These materials have been cut and sewn into hundreds of pieces, and spread out like arteries in the human body. 

This piece, and much of Wong’s work, is inspired by the feminist body and the physicality of being a woman. 

In an interview, Wong offered more detail about her inspiration for her installation work and the meaning the pieces carry:

“Much of my work is about repair, and reclaiming. So when you look at this piece, you’re going to see that there are lots of situations where I’m cutting things and sewing them back together, then cutting things, then sewing them back together. It’s this constant layering of almost like wounds, that are constantly repaired. There will be this network that is almost arterial that moves through this piece. People will be able to walk all the way around it, and see through it. 

“And I have done digital scans of my work, printed them on hi-resolution film, and sewn those into this large suspended piece. It’s almost like the formation of wings within the gallery. It’s all these things that resemble a woman’s life. 

“Our lives are not a narrow beginning to end. We move in many different directions throughout the course of our life, and Guardian of the Spirits is about the fact that a lot of times for women there is the smaller self that they live in in the world, and then there’s a bigger alter ego, that if they could only embrace it, they could grow. 

“So the piece is my alter ego, it is the large part of myself, and it spreads like the branches of a tree. It can’t be conquered, it can’t be beaten. It constantly repairs and grows back.”
‘THEORY FORWARD: Shape, Line, Color, Surface/Texture’ opens Aug. 1 and runs through Aug. 31. An artist’s reception will be held on Aug. 2 from 5:30-7:30pm. For more information, visit www.ohanloncenter.org.

CULTURE CRUSH—Mentalist magic, Comedy and More

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Sausalito 

Mentalist Magic

Join the Sausalito Center for the Arts for a night of food, drink and magic with mentalist Jay Alexander at the Sausalito Pop Up Magic Show! A master magician, mentalist and comic,  Alexander has appeared on the Today show, TEDx talks, MTV and Good Morning America. His recurring “Mind Tricks Live!” show at San Francisco’s Marrakech Magic Theater is rated the #1 show on both Yelp and TripAdvisor. This week, North Bay residents can see this hit show, full of wonder and mind-boggling magic, closer to home. The Sausalito Pop Up Magic Show is Aug. 4 at the Sausalito Center for the Arts, 750 Bridgeway, Sausalito. Tickets $250. Seating is limited. Tickets to this event include a year of free membership to the center.  www.sausalitocenterforthearts.org 

Petaluma

Petaluma Music Festival 

Produced by a non-profit organization, the Petaluma Music Festival is held each year to raise money for music in Petaluma’s public elementary and secondary schools, ensuring that students have access to an education in the arts. Since 2008, the nonprofit has donated over $400,000 to Petaluma school music programs. This year’s lineup includes 14 musicians, including Dirty Cello, Rainbow Girls, La Gente SF and The Happys. The festival will also feature  booths for meet and greets with artists, merchandise for sale, beers from Lagunitas Brewing Company and Two Rock Brewing Company, and food from local vendors. This is a chance to support music in schools. This year, the festival will be held Saturday, Aug. 6 at the Sonoma-Marin Fairgrounds, 175 Fairgrounds Dr, Petaluma. Gates open at 11:30am, and music runs until 9:30pm. Tickets start at $60. www.petalumamusicfestival.org 

Rohnert Park

Renegade Orchestra

An unconventional Bay Area orchestra is performing in a Rohnert Park redwood grove next week. Renegade Orchestra describes itself as “throwing out all the old conventions of a quiet, sleepy, stuffy show of musicians locked in straight jackets of tradition.” This 18-piece ensemble pairs a set of virtuosic orchestra musicians with a hard-driving rhythm section. Renegade will perform work by Nina Simone, Miles Davis, the Mamas and the Papas, and Donna Summer. This concert from a lively orchestra is set to get toes tapping and hips moving. An added bonus: The show will be held outdoors amidst redwood trees. Fresh air and fresher music. The Renegade Orchestra performs at the SOMO Village, 1100 Valley House Dr, Rohnert Park, on Aug. 7. Show starts at 7pm. Tickets $25-30. www.somovillage.com 

Kenwood

Larry Omaha 

Comedic legend Larry Omaha comes to Deerfield Ranch Winery for a night of wine and laughs. Omaha’s comical stories about his youth have been hailed by the Los Angeles Times as “refreshing, funny and universal.” An Indigenous Humanistic Native stand-up comedian born on the banks of the Missouri River, Omaha’s childhood was spent fighting flood waters, snakes and coyotes on the Midwestern plains. He has many television, film and performing credits, and is best known as the voice of Nightwolf in Mortal Kombat. The winery, in the heart of Sonoma Valley, is an award winning, organic winery. Bring a picnic and get ready to laugh! Omaha is performing at Deerfield Ranch Winery, 10200 Sonoma Hwy, Kenwood on Saturday, July 30. 7pm-8:30pm. Tickets $35. www.crushersofcomedy.com 

—Jane Vick

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