To enter the world of Maryam Eisler, as luxuriously displayed at Harper’s Books in East Hampton, is to experience a heightened sense of reality within a mythic view of the world.

Along plum-painted walls in the front gallery and the white walls in back and upstairs, three worlds and stories unfold, all related to her notion of the “Sublime Feminine,” which is also the name of the show.

After some decades of discomfort with feminist essentialism, female artists began to rethink and look again at artists such as Hannah Wilke, who used her own body in her artwork in what she saw as an empowering way. Her seizure of the gaze back from the male artists of centuries past to concoct her own notion of the feminine gaze has been highlighted in exhibitions and essays over the past decade. 

Such re-examination has inspired a new generation of artists to continue this work, including Ms. Eisler, who uses female models, predominantly nude, to explore notions of Eve, the first mother, and other mother figures and temptresses as well, “as set against the grandeur of nature.”

Ms. Eisler’s travels have taken her to New Mexico to walk in the footsteps of Georgia O’Keeffe, an artist who early on telegraphed the feminine form in her portrayal of flowers and was the object and subject of Alfred Stieglitz’s mythologizing photographic portraits. 

Among the rough-hewn, rocky landscape in “Atira,” Ms. Eisler inserts a female figure practically indistinguishable from her surroundings, until you spot her, a curvilinear form among the “barren, harsh, tense, and hostile” environment, as the artist characterized it in a call from London last week. Once seen, the contrast is obvious. The figure becomes just another form in an activated landscape of tall, spindly outcroppings, and her pose imitates the one just behind her to the right. How lovely and unified is this world she creates for us? 

In the softer light of Provence in France, she found an underground world of bauxite caves and the soft pink light of the fields above. In the caves, the light was controlled and magical. “The Divine Feminine” places a seated figure on a rock with a cloud of dust imbuing her with a seemingly magical force. The myth of Orpheus and Eurydice came to her only after the shoot, but, “I then saw the whole story unveiling in front of me.” 

The series became “Eurydice in Provence.” It includes a woman in a field of wheat, something she did as a contrast with the underworld of the caves and to evoke the feeling of what the prickly wheat would feel like on soft skin. A woman in a cave in Provence is also part of the apocryphal Mary Magdalene story, in which she set off for Provence after the death of Jesus to spread the new religion. Her relics are said to be in a church there. Such an allusion evokes the “love and lust, passion, temptation, and unconquered passions” Ms. Eisler said she addresses through her work.

Also evident is the echo of early modern practitioners of art photography such as Man Ray, Edward Weston, and even Andre Kertesz. A figure lying in a contorted pile on an Arts and Crafts bed set under a spare staircase with other black-and-white photos hung about could be one of Weston’s peppers or female forms.

The figure is starkly lighted and stands out from her surroundings as much as the figure in New Mexico is shrouded by her background. Ms. Eisler now shoots digitally, but she learned and developed her craft on film cameras and in the dark room. “I’m shooting with light,” she said. Using black and white as a format “forces you to pin yourself down to bare essentials. With color you would see too much visual noise.”

There is very little postproduction work involved in these digital prints. “If I can’t get what I want shooting in natural light, I won’t do it.” Ms. Eisler said she moves around a lot, using one camera with three different fixed lenses, which gets her closer to her subject and the light than zooming in would.

Having spent some years in the cosmetics and beauty industry, she is sensitive to what that world portrays and what she is trying to say with her work. “These are questions of identification and self-identification regarding the role of women in the universe and in society.” Whether powerful temptress or Mother Nature, it’s an exploration of roles that differs from the way she said males view her work. 

“I don’t denigrate that. Art is very subjective. Everyone has an opinion and those opinions diverge widely,” she said. “I welcome both the male and female response. Together it makes it complete.”­­

Across the East End, organizations of all kinds are struggling to attract young people to join. In 2013, amid concern that its board of trustees was going gray, the LongHouse Reserve in East Hampton assembled a junior council of artists and curators that — now in its fifth year — is helping to inject new life into the institution. 

Founded by the textile designer and art collector Jack Lenor Larsen, LongHouse has long been a cultural center for modern art on the East End. The property, made up of 16 acres of sculpture gardens and a large home fashioned after a Japanese Shinto temple, is home to permanent works by Willem de Kooning, Sol LeWitt, and Yoko Ono, among others. 

Mr. Larsen, who is approaching 91, is still involved in curation at LongHouse, but the current president of the board, Dianne Benson, is looking toward the future. “It is time to welcome a new generation,” she said. “The board is getting older and we are going to need them to carry on our work.” 

In assembling a core team for the Junior Council, Ms. Benson drew upon a rich local network. Several council members are second-generation LongHouse supporters, including Max Levine, Sarah Duke, and Taylor Van Deusen, whose parents serve on the board. Others were connected through other means. Scott Bluedorn, for example, a 35-year-old artist and illustrator, worked at LongHouse before joining the council. 

“LongHouse is a small and intimate organization, so mostly everyone knows one another,” said Mariah Whitmore, the current council chairwoman. Still, the Junior Council operates independently of the board, which allows it total creative freedom.

The council has influence on programming, working with the arts, education, and landscape committees to assist on special events like the summer gala. Its members are also in charge of organizing the annual “Salon on the Lawn” exhibition. This year, the show, which opened on Memorial Day weekend, was curated by Tripoli Patterson, who is 33, and featured work by Aakash Nihalani, 32, and Quentin Curry, 46. It drew a large crowd of millennials to roam the lush grounds and appreciate the large-scale outdoor work. 

Though the show was once held on Labor Day weekend, this year the council decided to move it earlier in the season to better capitalize on the momentum raised by the party. “We want to get the word out that there is a lot going on at LongHouse,” Ms. Whitmore said. “People don’t know this, but there are things happening here every weekend. We have a ton of regular programming, including Saturday morning meditations, garden classes, and family days.”

Ms. Benson said that she has definitely noticed a shift since the council was formed. “Yes, there is certainly more energy now. Every year at the benefit we have a few tables” for a younger art crowd. “This year, they made up a significant portion of our group, and it keeps growing.”

In July, a LongHouse Celebrates Brooklyn gala will honor the work of Dustin Yellin, 42, an artist and founder of Pioneer Works, a not-for-profit cultural center in Red Hook, Brooklyn. The event is part of a larger initiative to align LongHouse with other young, vital organizations that could be potential partners and help to increase its membership.

Long term, Ms. Benson hopes that members of the Junior Council will stay invested in LongHouse and help contribute more broadly to East Hampton. An architect here, Nick Martin, 50, recently “graduated” from the council to the board of trustees, of which he is now the youngest member. If others follow the same path, moving up to fill leadership roles, they could help to ensure a bright and sustainable future for the organization.

“We are lucky to have such a wonderful group,” Ms. Benson said. “Their ideas are ambitious and raise the bar for all of us. We are very proud of what they’ve been able to accomplish.”

Carolyn Enger, a classical pianist, will perform a free concert on Sunday at 2:30 p.m. at the Montauk Library. Her program will include works by the 19th-century composers Fanny Mendelssohn, Clara Schumann, Franz Schubert, and the contemporary composers Caroline Shaw, Pia Moller Johansen, and Judith Shatin.

An active recitalist with engagements throughout the United States and beyond, Ms. Enger has performed at the Weill Recital Hall at Carnegie Hall, Lincoln Center’s Bruno Walter Auditorium, the National Gallery of Art, and the Cathedral of St. John the Divine, among others.

Charles Yoder at Ille

Ille Arts in Amagansett will present “Woodwork,” an exhibition of paintings by Charles Yoder, from Saturday through July 18. A reception will be held on Saturday from 6 to 8 p.m. Mr. Yoder creates realistic representations of his verdant surroundings in East Hampton’s Northwest Woods, the form and color of which “take the viewer into a more abstract world of dynamic shapes and tonal variations on colors,” according to the gallery.

Bronze and stone sculpture by Sven Runger will also be on view through the summer.

Jack Smith in Montauk

“Jack Smith: Exotic Drawings and Photographs” will be on view at Boo-Hooray Summer Rental in Montauk from Saturday through July 6. Smith’s work in theater, film, photography, and performance, while largely unknown during his lifetime, influenced such noted artists as Andy Warhol, Cindy Sherman, and John Waters. 

Six at Harper’s

Harper’s Books in East Hampton will open “Six Artists” with a reception on Saturday from 6 to 8 p.m. The show will continue through July 18. The downstairs gallery will feature work by Theresa Chromati, a multimedia artist, and two abstract painters, Spencer Lewis and Caitlin Lonegan. On view upstairs will be paintings by Adam Henry, Emily Mae Smith, and Tim Wilson. 

“L.A. Friends” at Rental

The Rental Gallery in East Hampton will show “L.A. Friends,” a two-part exhibition, from Saturday through July 25, with a reception set for Saturday from 6 to 8 p.m.

Part I, with work by Becky Kolsrud, Friedrich Kunath, and Roger Herman, will be installed in the main gallery. For the upstairs space, Tif Sigfrids selected work by Andy Giannakakis, Gracie DeVito, Joe Sola, Christina Forrer, J.P. Munroe, and Adrienne Rubenstein.

Celebrating Water

“Neptune in Pisces,” a group exhibition, will open at the Grenning Gallery in Sag Harbor with a reception on Saturday from 6:30 to 8 p.m. and continue through July 8. The show features artists who celebrate water as a symbol of consciousness and a source of healing. It will include work by Nelson H. White, Maryann Lucas, Ben Lussier, George H. Lewis, Jeremy Lipking, Amy Florence, Tina Orsolic Dalessio, and Hilary McCarthy.

Mr. Lewis will discuss the works in the exhibition at a cocktail reception tomorrow from 5 to 6 p.m.

“Sea and Sky” in Sag

“Sea and Sky,” an exhibition of works by Whitney Hansen, Scott Bluedorn, and Paton Miller, will open at the Sag Harbor Whaling and Historical Museum with a reception Friday from 6 to 8 p.m. and remain on view through July 15.

Ms. Hansen’s subjects range from portraits to seascapes and landscapes in works that involve hand painting over pulled woodcuts. Mr. Miller’s world travels, his adventures, and his family inform his vividly expressive paintings. Mr. Bluedorn’s work in various mediums is inspired by cultural anthropology, nautical tradition, and primitivism.

Four at White Room

“Balancing Act,” a group show, will be on view at the White Room Gallery in Bridgehampton through July 8. A reception will take place on Saturday from 6 to 8 p.m.

Both Sally Breen’s paintings and EJ Camp’s photographs are inspired by the light and water of the East End. Joan Konkel creates abstract, low-relief wall sculptures, while John Mazlish’s photographs focus on landscape and urban architecture. A portion of the proceeds from sales will benefit the Ellen Hermanson Foundation.

Juried Show in Bridge

The Lucille Khornak Gallery in Bridgehampton will show “True Independence,” a juried group exhibition, from Saturday through July 6, with a reception set for Saturday from 5:30 to 8:30 p.m.

The competition invited artists to express “the feeling of summer, the joy of freedom, and true independence.” The jurors were Ms. Khornak, who is a photographer as well as a gallery owner, Oz Karras, and Gilbert Abad.

Wednesday Group

“New Works,” an exhibition of work by members of the Wednesday Group of East End plein-air painters, will be on view at the Water Mill Museum through July 1. A reception will be held on Saturday from 5 to 7 p.m.

Participating artists are David Bollinger, Pat DeTullio, Anna Franklin, Barbara Jones, Teresa Lawler, Jean Mahoney, Deb Palmer, Gene Samuelson, Christine Chew Smith, Frank Sofo, Bob Sullivan, Aurelio Torres, Pam Vossen, and Dan Weidmann. 

At LTV Studios

Paintings by Steven Romm and Elizabeth Karsch have been selected by the artist Haim Mizrahi for an exhibition at LTV Studios in Wainscott that will open on Saturday with a reception from 4 to 8 p.m. and remain on view through July 31.

A new summer season at Bay Street Theater in Sag Harbor is off to a smashing start with “Fellow Travelers,” an engrossing and beautifully acted new drama by Jack Canfora that runs through June 17.

“Fellow Travelers” chronicles the conflicted friendship of two titans from the golden age of American theater — the writer Arthur Miller and the director Elia Kazan. During much of the 1950s and early ’60s, Miller’s and Kazan’s lives seemed dramatically intertwined. It began with Kazan directing Miller’s first two breakout plays, “All My Sons” and “Death of a Salesman.” Later, the two men would both be called before the House Un-American Activities Committee, and then each had affairs with Marilyn Monroe. (She and Miller were married in 1956.)

With the play’s punchy, often vulgar dialogue, Mr. Canfora wrings genuine conflict and emotion from his two talented and driven characters. 

It begins in 1951 with Miller and Kazan on a train to Hollywood, where they are shopping Miller’s screenplay “The Hook,” about Brooklyn longshoremen. It’s here that all the later conflicts begin to smolder: Miller begins his infatuation with the then-unknown actress Marilyn Monroe, even as she and Kazan are having an affair; and when an envoy from the Un-American Activities Committee urges Miller to make changes to his script, the playwright refuses, even as Kazan cajoles him to compromise. (The project is scrapped, though Kazan would later cannibalize parts of “The Hook” into a little something called “On the Waterfront.”) 

You would be hard pressed to believe that “Fellow Travelers” is a new play, since nearly everything in this production seems to hit its target. The set design is clever and unobtrusive, the writing both lean and muscular, and the actors, as directed by Michael Wilson, are stunningly good. Wayne Alan Wilcox not only bears an uncanny resemblance to Arthur Miller, but perfectly captures Miller’s scholarly reserve and diffident speech patterns. And though physically Vince Nappo is hardly a dead ringer for Elia Kazan, he does well in embodying the Greek immigrant’s pugnacity, a man who is a walking bundle of attitude and appetites.

Nearly stealing the play, however, is Mark Blum as Harry Cohn, the head of Columbia Pictures. Mr. Blum takes what can often be a cliché — the foul-mouthed movie producer — and under-chews the scenery with just enough discretion to make Cohn both human and wretched at the same time. With just the right shadings of bluster and amity, Mr. Blum makes fresh a role that in the hands of a lesser actor could be a one-note bore. 

But in a production with so many excellent performances, it is no small compliment to say that Rachel Spencer Hewitt, as Marilyn, makes the play her own. So iconic is Monroe — and so caricatured in popular culture — that there may be no more treacherous role for an actress to play. Just on sheer guts, one must tip his hat to Ms. Hewitt for trying. 

But the actress does much more than that, with a portrayal that captures both the iconic Marilyn and the tender and in nocent woman she most likely hid from the world. In “Fellow Travelers,” we get a Marilyn on the cusp, both world-weary and yet still hopeful about her career and the possibility of love. After her divorce from Miller, she would never be quite the same. 

The history of Elia Kazan and Arthur Miller at the committee hearings is well known: Kazan eventually named names to the committee and went on to a fruitful career, while Miller refused to talk and escaped prison only on a technicality. The legend — like most legends — rests on hyperbole: Kazan was a rat while Miller was an uncompromising saint. 

Thankfully, Mr. Canfora’s writing transcends these clichés. While the play is hard on Kazan, there is an important exchange in which Miller sympathizes with the director’s decision to betray his friends; for Kazan not to work, Miller states, would have been like a self-imposed “death sentence.” While the play hardly absolves Kazan, there is at least the desire to understand him. 

And just when Miller’s saintly posturing grows tiresome, Mr. Canfora has both Kazan and Harry Cohn take pithy potshots at the playwright’s sanctimony.

But it’s Marilyn Monroe who, even in death at play’s end, gets the last word. Just as her image bedeviled millions of filmgoers (and continues to do so), so did she loom in the minds of Miller and Kazan; neither ever really got over her. Thanks to a great performance by Ms. Hewitt and the tender writing of Mr. Canfora, she ultimately dominates “Fellow Travelers” as well

The Perlman Music Program will present a four-concert chamber music marathon tomorrow and Saturday at the Clark Arts Center on Shelter Island. Participants in the program’s Chamber Music Workshop will perform selections by Bartok, Beethoven, Brahms, Dvorak, Mendelssohn, Schumann, and Shostakovich.

The free concerts will take place tomorrow and Saturday at 2:30 and 7:30 p.m. The program has requested R.S.V.P.s to specialevents@perlmanmusicprogram.org.

Hector Leonardi

The Drawing Room in East Hampton will present “Chromatic Journey,” a solo exhibition of paintings by Hector Leonardi, from tomorrow through July 15.

Mr. Leonardi, who studied at Yale with Josef Albers in the 1950s, builds up his canvases over time, layering acrylic paint in what he has called a conversation with the painting. He often affixes strips of dried acrylic paint to the abstract canvases, adding both depth to the surfaces as well as what the critic Robert C. Morgan has called “an unpredictable chromatic articulation virtually unparalleled in painting today.” 

An illustrated catalog will accompany the exhibition.

Hamptons Light

“Light of the Hamptons,” paintings by David Demers and Haim Mizrahi, will open Saturday at Janet Lehr Fine Arts in East Hampton with a reception from 8 to 10 p.m. It will continue through July 5.

The undulating, horizontal swaths of color in Mr. Demers’s large, abstract canvases reflect his interest in the energy and flow of nature and the colors of the East End landscape. Mr. Mizrahi’s poured and layered paintings recall “Kandinsky’s expressive colored masses and overlapping lines,” according to the gallery.

Two at Studio 11

Paintings by Louise Crandell and paper sculptures by Linda Miller will be on view at Studio 11 at the Red Horse Plaza in East Hampton from Saturday through July 8, with a reception set for Saturday from 5 to 7 p.m.

Ms. Crandell draws upon her memories and dreams, which she fashions into “contemplative, ambiguous, otherworldly abstractions” through the use of layers of oil paint and wax. Ms. Miller uses paper, water, graphite and India ink to form a variety of solid objects, boxes, and vessels whose apparent density and heft belie their lightness and fragility. 

Group Show at Ashawagh

“Old and New,” a group exhibition organized by the artist Mark Perry, will be on view at Ashawagh Hall in Springs from tomorrow through June 24. A reception will take place Saturday from 5 to 8 p.m.

The show explores changes that can occur in an artist’s style over time. It includes work by Anne Raymond, Roy Nicholson, Don Christensen, Denise Gale, Scott Bluedorn, James Kennedy, Sydney Albertini, John Haubrich, Gus Yero, Rosario Varela, George Singer, and Mr. Perry.

Performance at White Room

The White Room Gallery in Bridgehampton is partnering with I AM, a women’s creative collective, to present three performances this summer, the first set for Saturday at 6 p.m.

Titled “Flashback,” the event will explore the themes of freedom and fame through contemporary dance and live painting using body movement. Created in 2013 by Kate March, an American performance artist, I AM uses food, drink and performance to “bridge the gap between commercial and experimental art,” according to a release. Tickets are $50 and available through the gallery.

Three at Kramoris

Romany Kramoris Gallery in Sag Harbor is presenting an exhibition of work by Herbert August, Isabel Pavao, and Bob Rothstein from today through July 5. An opening reception will be held on Saturday from 5 to 6:30 p.m.

Mr. August’s abstract paintings, which explore color, shape, and texture, often begin with a reference to nature. The mixed-media works in Ms. Pavao’s ongoing “Impressions” series draw inspiration from her natural surroundings and combine organic forms with geometric structures. Mr. Rothstein’s mixed-media pieces have moved closer toward abstraction than his previous work, incorporating seemingly unrelated elements.

Four Painters at RJD

“Secrets of the Twisted and Entwined,” the next, tantalizingly named exhibition at RJD Gallery in Bridgehampton, will open Saturday with a reception from 6 to 8 p.m.

The works range from the Surrealism of Salvatore Alessi to figurative portraits by Mary Jane Ansell to the often-contorted figures of Matt R. Martin to the M.C. Escher-inspired compositions of Alain Vaes. The show will continue through July 15.

Jeff Lincoln Art and Design

Jeff Lincoln Art and Design in Southampton will present photographs by Conrad de Kwiatkowski and paintings by Frederick Matys Thursz from tomorrow through Aug. 8.

Mr. Kwiatkowski’s “The Sea Glass Series” consists of large-scale photographs that explore the subject of space and light and challenge the perceptions of the viewer. 

“The Light Within” brings together late work by Mr. Thursz, who co-founded the Radical Painting Group in New York City in the 1970s to re-establish the political relevancy of painting at a time when it was out of favor. He died in 1992.

Contemporary Photography

MM Fine Art in Southampton will open a show of contemporary photography on Saturday with a reception from 6 to 8 p.m. The show will run through July 1.

The  photographers include Miles Aldridge, Claudia Aronow, Peter Beard, Joey Farrell, David Gamble, Nan Goldin, Jefferson Hayman, Steven Klein, Christopher Makos, Steve Miller, Jonathan Morse, Joe Pintauro, Robin Rice, Stephen Schaub, Cindy Sherman, and Paul Solberg.

Mexican Enchantment

“Oh Joy,” a solo exhibition of paintings by Phyllis Chillingworth, who lives in Montauk, is on view through June 23 at the Atlantic Gallery in Chelsea. The paintings were inspired by time spent in Zihuatanejo, Mexico, where the artist found “beauty, inspiration, magic, and enchantment.” They reflect a shift in pictorial language from emphasis on brushstrokes to a focus on expressive color.

The Roy Lichtenstein Foundation has given the Whitney Museum of American Art in New York 400 works by the artist to serve as a study collection, the foundation and museum announced last week.

The foundation has also agreed to digitize working records from the artist’s studio with the Archives of American Art and to gift them to that organization in stages. The records include oral histories, interviews, an audio-visual collection, correspondence, exhibition files, and photographs of the artist, his art, and exhibition installations.

The Whitney will receive paintings, sculptures, prints, photographs, drawings, collages, and preparatory work and studio materials. They date from the early 1940s to Lichtenstein’s death in 1997. He had a house and studio in Southampton for many years.

“We have always intended that the foundation, now almost 20 years old, would not operate in perpetuity,” Dorothy Lichtenstein, its president and the artist’s widow, said in the announcement. This is the first set of “successor institutions” chosen to carry on after the foundation “sunsets,” as she put it.

“Furthermore, it is our long-range hope that Roy’s Washington Street studio would go to the Whitney as a venue for its extensive artistic and scholarly programming,” she said.

Several themes recurrent in Lichtenstein’s career are reflected in the collection, including abstractions, the American Indian, Americana, architecture, brushstrokes, landscapes and seascapes, mirrors and reflections, “Modern Art,” murals, “Perfects” and “Imperfects,” Pop, still lifes and interiors, and women and nudes. 

“The Study Collection traces the development of Lichtenstein’s process, from source material to sketch, drawing, collage, painting, print, and sculpture,” according to the Whitney.

The two organizations have already planned programs such as a fall course called How to Look, which will include a visit to the artist’s studio with the Lichtenstein scholar Michael Lobel. Conservators from the museum and Lichtenstein conservation experts will also participate in a “think tank” next spring having to do with conserving his art. The artist’s Manhattan studio will be on a spring tour along with Gertrude Vanderbilt Whitney’s former studio.

The foundation was opened in 1999 and has since worked to make Lichtenstein’s work accessible to the public. A complete catalogue raisonné, which the foundation is still researching, will eventually be web-based.

This year’s Much Ado About Madoo, the Sagaponack conservancy’s annual cocktail party and garden market, will celebrate Jane Iselin, who is retiring as Madoo’s board president after six years.

The cocktail party, which will take place tomorrow from 6:30 to 8:30 p.m., will feature the opening of the summer studio exhibition of photographs by Francine Fleischer, of animals from the Animal Rescue Fund of the Hamptons. 

A live auction conducted by Jamie Niven will feature a pair of Robert Dash flower paintings from his 2001 Florilegium series. In addition, animal lovers will have an opportunity to bid on a pet photo portrait commission by Billy Sullivan. Tickets are $225, $200 for members, and $125 for those under 30. Ten percent of proceeds will benefit ARF Hamptons.

The garden market, which will be open from 10 a.m. to 5 p.m. on Saturday, will feature more than two dozen vendors of unusual plants, house and garden antiques, fashions for men and women, and gourmet food items. The market is free, and 10 percent of purchases will benefit Madoo.

Ms. Fleischer’s photographs are the centerpiece of #ARFRESCUELOVE, a new social media campaign conceived by Neil Kraft, a well-known advertising executive and an ARF adopter, and Amy Sullivan, a board member of the rescue fund.

Throughout last winter, the ARF conference room was transformed into a studio where Ms. Fleischer, who is also an ARF adopter, photographed 60 dogs and cats available for adoption. The campaign was originally developed only for social media, but Alejandro Saralegui, Madoo’s executive director, offered the summer studio space for an exhibition of the prints. M.S.

Philippe Petit, the French high-wire artist, will forever be known for his 1974 walk between the twin towers of the World Trade Center, an exploit he repeated, at a much lower altitude, at LongHouse Reserve in East Hampton on the 40th anniversary of the feat.

Mr. Petit, also a gifted storyteller, will mine his experiences as a magician, street juggler, visual artist, carpenter, equestrian, and writer at 8 p.m. on Friday, June 22, at Guild Hall. He will recall how he learned to walk the wire the wrong way, he will mime how a juggler sold him misaligned clubs that were impossible to juggle, and he will reveal a bullfighting secret. He will also share the story of his first step on the legendary high-wire walk.

Tickets range from $40 to $85, $38 to $80 for members.