Two free concerts of classical music will take place on Shelter Island this weekend. On Friday at 7:30 p.m., the Perlman Music Program will have a Chamber Music Workshop kickoff concert and reception at the Clark Arts Center featuring young workshop participants performing works by Haydn and Mozart.

On Saturday, Brandon Ridenour, a trumpet virtuoso and winner of the 2014 Concert Artists Guild Competition, will perform music by Vivaldi, Debussy, Rimsky-Korsakov, Gershwin, and Bernstein at 8 p.m. at the Shelter Island Presbyterian Church. Peter Dugan will provide piano accompaniment.

Life will loosely imitate art after this summer’s production of “Evita” at Bay Street Theater in Sag Harbor. The theater has announced the cast and creative team for the musical by Andrew Lloyd Webber and Tim Rice, which will open on July 31 with Arianna Rosario as Eva Peron, Omar Lopez-Cepero as her husband, Juan Peron, and Trent Saunders as Che. Ms. Rosario and Mr. Lopez-Cepero will be married in November.

Directed by Will Pomerantz, Bay Street’s associate artistic director, and choreographed by Marcos Santana, the intimately scaled, dance-filled production is set in an Argentinean tango club. The cast will also include Kyle Barisich as Magaldi and Gabi Campo as the mistress.

Ms. Rosario was most recently seen as Carla in the Kennedy Center’s production of “In the Heights.” Mr. Lopez-Cepero played Sky Masterson in the Theater Under the Stars’ Latin version of “Guys and Dolls.” Mr. Saunders was in “Aladdin the Musical” at the New Amsterdam Theater in Manhattan, where he will return in the fall.

Asian Flair

Keyes Art in East Hampton will present “All That Glitters,” an Asian-themed exhibition of work by Amy Zerner, Bill Claps, and artists from Bhutan, from Sunday through June 30, with a reception set for Sunday from 1 to 4 p.m.

The images in Ms. Zerner’s tapestries and collages are inspired by Persian paintings, Tibetan tongas, and dream scenes. Mr. Claps’s gilded prints draw upon Chinese landscape paintings and 18th-century Japanese prints.

Twenty-five paintings by Asha Kama, Pema (Tintin) Tshering, Phurba Namgay, and Gyempo Wangchuk comprise one of the first exhibitions of Bhutanese contemporary art in the United States.

Badges and Buttons

At Boo-Hooray Summer Rental in Montauk, “Wearing Buttons Is Not Enough: The Colette Badge and Button Show” is on view from Saturday through June 22.

The exhibition features the collection of activist buttons from the 1950s through the 1970s gathered by Garrick Beck, a founder of the Rainbow Family and author of “True Stories: Tales From the Generation of a New World Culture.” The show of emblems of political dissent was originally staged at the Colette concept store in Paris.

Fireplace Project Is Back

The third annual iteration of “9999,” a group exhibition organized by Edsel Williams, will open at the Fireplace Project in Springs with a reception on Saturday from 6 to 8 and remain on view through July 9. The salon-style show features more than 25 artists, with all artworks priced under $10,000.

Jonathan Clancy Photos

“Liquid,” a new series of photographs by Jonathan Clancy, will open at Grain Surfboards in Amagansett with a reception on Saturday from 5 to 8 p.m.  Mr. Clancy’s fine-art work is rooted in photographic abstraction. His “Cloudbreak” series depicts coastal scenes reflected by clouds, while the “Liquid” series is said to be a study between motion and emotion. 

A signed, framed print by the photographer will be raffled at the opening to benefit A Walk on Water, which provides surf therapy to children with special needs. The show will be on view through June 23.

One-Liners

Works by Paul McMahon, Eileen Isagon Skyers, and Jeffrey Augustine Songco, which are informed by the one-line joke model, are on view at Rental Gallery in East Hampton through June 17. 

“Episode 2: One-Liners,” a project of Harrison Gallery in New York, highlights “imaginative and subversive aesthetic approaches to materially, culturally, and politically convoluted environments,” according to a release. 

Open Season

In conjunction with the 118th U.S. Open Championship at Shinnecock Hills Golf Club, the Southampton Cultural Center will present an exhibition of watercolors by Lee Wybranski, a renowned golf artist, from today through June 30. A reception will take place Saturday at 7 p.m.

The exhibition will include original watercolors from past U.S. Opens, PGA Championships, British Opens, and Ryder Cup matches, as well as other golf-related artworks.

Water Mill Members Show

The Water Mill Museum is presenting its annual Artist Members Show through June 17. This year’s exhibition, featuring the work of more than 100 museum members, includes paintings, watercolors, pastels, photographs, mixed-media works, and sculpture. Most of the works are for sale; 30 percent of all proceeds will go to support the museum. 

“Unweavings” at Temple

“The Shabbat Project,” an exhibition of work by Laurie Wohl, an internationally known fiber artist, will open at Temple Adas Israel in Sag Harbor with a reception on Sunday afternoon from 4 to 6.

Ms. Wohl’s fiber art pieces, which she calls “Unweavings,” convey spiritual narratives. Her process involves releasing either the warp or weft threads of heavy cotton canvas to create symbolic shapes and then reweaving with other materials, images, and text.

A “soundscape” — the music and voice of Cantor Daniel Singer of Manhattan’s Stephen Wise Free Synagogue — will accompany the exhibition, which will continue through August.

Welles’s “Garden Portraits”

Halsted Sutherland Welles’s “Garden Portraits,” a selection of time-lapse videos and still photographs, is on view at 313 Gallery in Brooklyn through June 23.

Mr. Welles, a part-time Sag Harbor resident, is the founder of an eponymous firm that specializes in creating outdoor living spaces for urban terraces and rooftops. Several years ago he set up several time-lapse cameras at some of the spaces he designed for clients and was captivated by the resulting images, which will be projected onto a large-scale screen at the gallery.

“Image Building,” an exhibition of photographs that have architecture as their subject at the Parrish Art Museum in Water Mill, has an erudite and compelling catalog and a great number of knockout images.

Through the catalog some grand themes emerge. One of its primary theses is how photographs come to define our experience and perceptions of buildings, particularly those that no longer exist.

Citing the World Trade Center’s Twin Towers as a primary example, Marvin Heiferman in his essay notes that our first thought may be of the footage of their toppling, but images of the buildings from their inception became an immediate and indelible symbol of New York City and America. Dominating the Manhattan skyline, those towers mesmerized those who sought to shoot them in photographs and those who ultimately took them down. In visiting various countries in Europe in the decades before the towers fell, it was remarkable to see how prevalent images of that skyline were, be it in a cafe, store, newsstand, or restaurant, serving as visual shorthand for the New World.

Photography’s mutability, from its inception to the present, is just as much on view here as the buildings that serve as the focus. As a result, it is not always an easy show to wrap your arms around, and ironically the flow is sometimes broken up by the architecture of the Parrish itself. Yet certain passages are surprisingly graceful, particularly in the double gallery, which benefits from the concentration of recent large-format work of German practitioners of the Dusseldorf School.

One rather bravura transition is between Thomas Ruff’s “w.h.s. 10:” to Candida Hofer’s “Villa Borghese,” Thomas Struth’s “Pergamon Museum I, Berlin,” and his “Las Vegas, Nevada.” The pinkish hues of three of them tie them together visually, while  “Pergamon” takes as its subject a museum interior in the same way as Ms. Hofer’s “Villa Borghese.” Both photographers are addressing history as viewed through these spaces and how distanced we are from these objects even when we are standing right next to them. Mr. Ruff’s digital manipulation of images of buildings creates a similar distancing, but through abstraction. Mr. Struth’s “Las Vegas” is an exterior, but its pink-toned building represents another variety of manipulated reality and manufactured experience that corresponds well to this company.

The same forces at work in visual art regarding the heroics of early Modernism and the more contemporary reactions against it are in evidence here. Therese Lichtenstein, the curator of the show, has placed Hiroshi Sugimoto and Mr. Ruff’s distorted versions next to earlier iconic images of the same sites, such as Rockefeller Center by Samuel H. Gottscho and Le Corbusier’s Ronchamp Chapel by Ezra Stoller. In further irony, the newer takes pose the same question as Picasso’s early Modernist guitar sculpture: How much visual information do we need to recognize a representation of a commonly known object, and how does the distortion affect our experience and understanding of it?

The spine gallery, one of the darkest of the darkened rooms necessary to preserve the prints, displays Balthazar Korab’s and Stoller’s striking images of Eero Saarinen’s masterpiece, the T.W.A. Flight Center at Kennedy Airport, as well as the more mundane American architecture captured in Ed Ruscha’s “Every Building on the Sunset Strip.”

The show also tackles postwar housing, from the cliffhanging shelters of Los Angeles by designers such as Richard Neutra to the banal tract homes built in this country and abroad to be affordable for young families. Julius Shulman’s collection of houses in Los Angeles and Palm Springs summons the mid-20th century in a powerfully immediate way. Aspiration is heightened in his “Case Study House, No. 22,” in which women sit in a glass box living room, adding implied decoration to the interior and a rare human presence in the exhibition.

Eschewing the slick consumerism of those sexy images, photographs by Robert Adam, Lewis Baltz, and Stephen Shore look instead to the quotidian and the marginal in singular approaches that reflect their differing aims and aesthetics. Bernd and Hilla Becher offer something similar, with an international perspective, in their “Framework Houses, Siegen District, Germany,” from 1988. 

What we end up with after ambling through these rooms is a sense of the thingness of the photos themselves and the distortions inherent in the transformation of objects into subjects of photography. Mr. Heiferman’s point is well taken that, unlike some photographic subjects, the objects of architectural photography do not lose their aura. Even at their slickest, or barren and abandoned, these depictions of buildings rarely lack souls.

The exhibition will be on view through June 17.

On Friday, the designers for this year’s showhouse sale at the Animal Rescue Fund of the Hamptons Thrift and Treasure Shop were mostly getting started in their rooms and spaces, but the frisson of creativity was already palpable, as was their love of their dogs.

Set in two buildings on Montauk Highway in Sagaponack, the store consists of a former house and large shed. For this event, they are transformed into discrete spaces that reflect the vision of the designers, who are encouraged to incorporate some of the shop’s donations into them.

Melanie Roy, who had one of the most challenging spaces, a 5-by-14-foot entryway, transformed it into what she termed a “beach glam retreat.” She covered three of the walls with faux plant material, bringing the outdoors in, and placed an unusual botanical painting she found in the shop over a window. “There’s so little wall space,” she said. 

The mirrored desk that she found at ARF sparked her vision for the space, but she was also inspired by the way part-time residents use their home office spaces in the summer to stretch out the weekend or spend all of their time here. “The season is short, I think everybody wants to come and work here as much as they can.” The remaining pieces came from her firm, Melanie Roy Designs, and from Garnet Hill.

On the opposite wall was a credenza of sorts filled with shells, books, coral, and doggie treats. She had dog toys made with her logo as favors. It is the kind of playful and witty space one would expect from the daughter of Rodney Dangerfield. She said she loves to design family and dog-friendly spaces using fabrics and even rugs designed for the outdoors. “There are so many wonderful materials now you really can design something that looks elegant and sophisticated that is also completely durable.”

Richard Mishaan’s room was also mostly complete on Friday. It was originally titled Mixology for the blend of contemporary and traditional styles culled mostly from objects he collected for his New York City store, Homer, operated in two different locations over 17 years. 

On Friday, he said Paris Flea Market might be a better description for the gathering of high-quality and eclectic pieces of furniture and accents he had amassed there. These include a large and relatively inexpensive screen livened up with Tony Duquette fabric painted to look like malachite, Chinese lacquer tables that could work both inside and outside, Forestier hurricane lanterns, hand-blown Italian vases, and a Safavieh rug with a pattern and colors perfect for a beach house.

The space assigned to Jack Deamer, of JED Design in East Hampton, was just taking shape with a pretty powdery yet rich blue that was inspired by a bolt of Manuel Canovas toile. Toile Hall will be the name of his space, which will have picture frame molding suggested by wall paint, a mirrored screen, a center table, a Syrian bench, a console, and lots of gessoed white objects and fresh flowers arranged by Arthur Golabek. “We’re going to fill it up!” Mr. Deamer said.

Tom Samet is planning a seaside living room with “a large Anglo-Indian desk, a sofa covered with Madeline Weinrib fabrics and rugs, and a 1940s bamboo tiki bar.” He found a nautical-theme lamp in the form of a carved wooden anchor among the available ARF objects. Almost all of the rest is coming from his own inventory. He will also be using flowers from East Hampton Gardens and Diane James.

Brian Brady of Brady Design is creating a Doggie Den, or a dog sitting room, next to Mr. Mishaan’s Paris Flea Market, “and then filling up the room with dog treats, bowls, things like that.” The inspiration was a collection of six dog silhouette paintings. Mr. Brady found most of the pieces he is working with at the thrift store. “It all has a traditional English flow, to feel like an English sitting room.” 

The room will be painted the same blue found in the dog silhouettes, which will be grouped together on a feature wall. The rest of the room will stay eclectic, with the objects left to make their own connections to each other with “carpet that will tie it all together.” Window treatments, trays, and throws will give it the designer’s finishing touch.

Blue Carreon’s Treillage Foyer was still in the early stages on Friday. He plans to mark off his 8-by-11-foot space with lattice work. It will feature pieces from his own home decor collection and donations by Tory Burch and others as well as a signed rendering by Jeremiah Goodman, an illustrator of interiors who died last year. If you miss his ARF space, his collection can be found at a new store opening this weekend in the Red Horse Market shopping center.

Everything in the rooms is for sale and the proceeds directly support ARF’s rescue and adoption efforts. The showhouse opens Saturday with a 5 p.m. preview hour for $250. It is followed by a cocktail reception from 6 to 8 p.m. for $150. The store will open to the public on Sunday and Monday from 10 a.m. to 4 p.m. with a $10 donation for admission. All of the objects in the two buildings will stay in place until Tuesday, when buyers can pick them up.

“Let’s talk Orthodox.” The actor Alessandro Nivola wanted to talk about the back story of his recent film successes, two of which involve Judaism. 

One that he produced, “To Dust,” won two awards at last month’s Tribeca Film Festival — best new narrative director for Shawn Snyder and the Audience Award for narrative feature. And “Disobedience,” in which Mr. Nivola stars, opened to great reviews and strong box office after its Tribeca premiere. 

“Tribeca’s been good. Last year, I won best actor,” he said on the phone the other day as he arrived in London to film his latest project, a four-part television adaptation of Lucy Kirkwood’s “Chimerica.” He plays the American photojournalist who took the famous picture of the lone protester with a shopping bag in front of a tank during the 1989 Tiananmen Square demonstrations.

He would be in London for a few days, then come home to Brooklyn for another few to see his family — that would be his wife and producing partner, the actress Emily Mortimer, and their two children, Sam, who is 14, and May Rose, who is 8 — before returning to London for several months. 

“It’s like going to Amagansett,” he said about the back and forth, “except it’s on Virgin Atlantic.”

It is a glimpse into the day-to-day of a working actor, whose “moment” is no accident, but the result of strategizing that paid off in acting roles and in producing his first feature.

Having taken on parts he liked in a dozen films that “no one ever saw,” Mr. Nivola got smart. He would work only with great directors, even if the parts were smaller. Think of him in David O. Russell’s “American Hustle,” Ava DuVernay’s “Selma,” or J.C. Chandor’s “A Most Violent Year.” 

His latest, “Disobedience,” was released nationwide on Friday and is playing in Southampton after being screened in East Hampton earlier this month. He accepted the role after reading the script by the film’s Brazilian director, Sebastian Lelio, and noting that there were no villains in the nuanced portrait of forbidden love in London’s Orthodox Jewish community. The film does not pit religion against sexual freedom. 

Mr. Nivola plays Dovid, a Hasidic disciple to a rabbi, capturing the prayers’ intonations, the modest gestures, the downcast glances. With his chiseled Italian chin hidden beneath a beard, Dovid might be the pivotal character, as he’s both married to Rachel McAdams’s pious Esti, and a childhood pal of the woman she has a relationship with, the rabbi’s daughter, Rachel Weisz’s Ronit, a defector from Orthodoxy. 

Meanwhile, the film he was producing, “To Dust,” was also informed by Hasidism.

At the 2017 premiere of HBO’s “Wizard of Lies,” directed by Barry Levinson, Mr. Nivola, who played Bernie Madoff’s son Mark, the one who hangs himself, spoke about the difficulties he was having shooting a film in New York and literally digging up dirt. That film was “To Dust,” a folklorish drama about a religious man, Shmuel — played by Geza Rohrig of “Son of Saul” — who just lost his wife and struggles with the philosophical, theological, and ethical issues regarding her decaying corpse and burial.

For relief from nightmares in which he imagines his wife’s toenail erupting, he seeks out Albert, a scientist — well, science teacher — played by Matthew Broderick, to investigate the process of decomposition. In a surreal leap, a pig becomes a surrogate. An interred body is dug up. Irreverent, the film will disturb many, maybe because it is at times hilarious. 

While “Disobedience” and “To Dust” could not be more different tonally, each required Mr. Nivola to immerse himself in the ways of Orthodox Judaism, and it’s not so easy to penetrate this cloistered community, to get it right.

Mr. Nivola insists that the community let him in because otherwise they were convinced “I was going to fuck it up.” Cast in “Disobedience” with lots of lead time, “I knew I had to make an extreme transformation, so I went about it meticulously, with real focus, the situation heightened.” At the time, his father, Pietro Nivola, a senior fellow at the Brookings Institute who grew up in Springs, was dying. “Every minute was borrowed time. He begged me not to drop the movie.”

An English major at Yale, Mr. Nivola studied Shakespeare with Harold Bloom, but he credits his father with his becoming an actor: “My father was great at impressions and would entertain everyone at the dinner table. I inherited a facility with voices and facial expressions. That’s part of my process: studying people’s behavior. It affects you psychologically; if you hold yourself a certain way it can affect the way you think and feel.”

With “Disobedience,” “When you have a group of people that is this specific, it is a goldmine.”

Help came from a woman he knew who had left Orthodoxy. She took him to Crown Heights to meet her Lubavitcher siblings. Zalman Raskin, the husband of one of her sisters, ran a package mailing shop, and Mr. Nivola started hanging around with him.

“He went through the script and guided my behavior. I recorded Hebrew blessings on my iPhone. I went to Shabbat dinners. I was in the heart of the community.” When he went to London for the shoot, Mr. Raskin put him in touch with his relatives there.

Then he returned to prep for “To Dust,” a first feature for King Bee Productions, the Mortimer-Nivola company founded when Ms. Mortimer and her friend Dolly Wells created the HBO series “Doll & Em.” 

“I called Zalman to consult,” Mr. Nivola said, “and then hired him to act, and his son Aaron too.”

Mr. Nivola and Ms. Mortimer divide their time between a townhouse in Brooklyn, which is also the home of King Bee on the ground floor, and a house near the ocean in Amagansett. The family has been out east since the late 1940s, when the sculptor Costantino Nivola, Mr. Nivola’s grandfather, bought a place in Springs, not far from Jackson Pollock’s house. 

In one of the couple’s more personal celebrations here, in 2016 after a show of sculptures by Mr. Nivola’s younger brother, Adrian Nivola, at the Drawing Room in East Hampton, they held a party at the family’s Springs house, where once Le Corbusier, upon seeing empty white walls, painted colorful modernist figures directly on them. Blythe Danner stopped by on her way to a birthday party, as did Dominic West, in town shooting his Showtime series, “The Affair.” And Damian Lewis, now starring in the series “Billions,” assured someone mourning for his “Homeland” character that, yes, “Brody is dead!” 

Mr. Nivola credits the area with nurturing another part of his career, the theater. His first professional experience came at the East Hampton Town Marine Museum’s Summer Solstice Theater Company in the early 1980s, when he was an intern doing lighting and serving wine and cheese and for one reading they needed a teenager. 

Fast-forward to Scott Ellis’s 1995 production of Chekhov’s “A Month in the Country,” opposite Helen Mirren. Ethan Hawke cast him in his revival of Sam Shepard’s “A Lie of the Mind” in 2010, and a game-changer was the 2014 Broadway production of “The Elephant Man” with Bradley Cooper and Patricia Clarkson. He was nominated for a Tony Award for that role; in 2015, the show went on to London’s West End. 

“I’ve done a play every two years,” he said, asserting what he’d like to be his next great moment: “Now when I go back to Broadway, I want a leading role.”

Regina Weinreich co-produced and co-directed the documentary “Paul Bowles: The Complete Outsider.” She lives in Manhattan and Montauk.

Photographers Show

The East End Photographers Group will take over Ashawagh Hall in Springs from Saturday through June 10 for its annual spring exhibition. A reception with music on the patio by Job Potter and Friends will take place from 5 to 9 p.m. on Saturday.

On June 10, two films by John Jinks will be shown at 3 p.m. “Hans Van de Bovenkamp: In His Own Words” will be followed by a conversation between the filmmaker and the sculptor. “A Guitar Maker’s Path — In Search for Tone,” a documentary about Carlos Barrios, will be followed by a performance by Mr. Barrios. The gallery at Ashawagh Hall will be open on weekends from noon to 5 p.m. and weekdays from 1 to 5.

Four at White Room

“Flashback,” an exhibition of Pop-inflected work by Joss Parker, David Morico, Serge Strosberg and David Mandel, and Seek One, is on view at the White Room Gallery in Bridgehampton through June 17. A reception will be held on Saturday from 6 to 8 p.m.

A performance featuring I Am, a performance collective, will take place on June 16 from 6 to 8 p.m. The Pop-inspired event will involve painting and “flowers, fruit, and freedom.” Tickets are $75 in advance, $90 at the door.

Cities of Kosovo

Ellen Frank of Springs, the founder and director of Cities of Peace, a project whose artworks celebrate the history and culture of cities that have experienced trauma and strife, has been in Pristina, Kosovo, for the past month. She and members of her team have been working with the Museum of Kosovo, the University of Pristina, Cultural Heritage Without Borders, and local residents on Laboratory Pristina, the mission of which is to create a monumental gold leaf and egg tempera painting honoring that city’s history and to help build cultural literacy for the benefit of future generations. 

Saarinen Documentary

In connection with its exhibition “Image Building: How Photography Transforms Architecture,” the Parrish Art Museum in Water Mill will show “Eero Saarinen: The Architect Who Saw the Future,” a documentary about the Finnish-American architect, tomorrow at 6 p.m.

Saarinen, who died in 1961 at the age of 51, is known for the TWA Flight Center at Kennedy Airport, the Gateway Arch in St. Louis, and the main terminal at Dulles International Airport, among others. The film’s director of photography, Eric Saarinen, the architect’s son, uses state-of-the-art drone photography to showcase his father’s work.

The screening will be followed by a conversation with Peter Rosen, the film’s director, and Jacqui Lofaro, the director of the Hamptons Take 2 Documentary Film Festival, which is joining the museum in presenting the film. Tickets are $20, $5 for members and students.

When the Arts Center at Duck Creek in Springs opens for the season on Saturday afternoon with an exhibition of paintings by Cile Downs in the barn and a show of outdoor sculpture, it will be a milestone in the property’s long history.

Purchased in 2006 by the Town of East Hampton with the community preservation fund, the seven-acre property lay dormant until 2013, when Pamela Bicket, Ira Barocas, Loring Bolger, Zachary Cohen, and Jess Frost formed the John Little Society and mounted an exhibition of work by Sydney Albertini in the barn.

Since then, the five have been deeply involved — “more deeply than we ever thought we would be,” according to Ms. Bolger — with renovating the barn and guiding the property from a site for several one-off exhibitions to its just-realized status as a nonprofit arts center with its first full summer of programming, made possible in part by grants from the HiLo Foundation in New York City and the Willem de KooningFoundation.

Ms. Downs has lived and worked on her property overlooking Accabonac Harbor in Springs since moving there from Iowa in 1954 with her husband, the painter Sterling Lord. “Accabonac Abstractions,” an exhibition of colorful paintings that reflect her reverence for nature and the landscape around her home, will run through June 24. A reception will take place Saturday from 4 to 6 p.m.

Ms. Downs was a founder of the Accabonac Protection Committee. “She’s a big environmentalist,” said Ms. Bolger. “The protection committee was her baby. It has really taken on a life of its own, going from grass roots to 501(c)(3). When she passes, the town will inherit the property. It will live on beyond Cile.”

“Under the Sun: Outdoor Sculpture at Duck Creek,” which was organized by Ms. Bolger, will include work by Mary Antczak, Michael Chiarello, James DeMartis, Elaine Grove, Bill King, Bill Kiriazis, Dennis Leri, Mica Marder, Aurelio Torres, and Ted Tyler. 

Three other art exhibitions have been scheduled for the barn. “Bonac: Letters From Home,” photographs by Tara Israel, will run from June 30 through July 22. Jeremy Dennis will show photographs from his “Stories” series as part of the Parrish Road Show in August, and Soren Hope will present five large-scale figurative paintings in September.

Except for Ms. Downs, the artists were selected from proposals they submitted; application guidelines for future proposals can be found on the center’s website. “We are really trying to keep this a community space,” said Ms. Frost. “It’s a fair game, a level playing field. Our mission is to carry on the spirit of John Little, which is to make it a community space, with everything free and nonexclusive.”

“We have a loose structure at the moment,” said Ms. Bolger, “but in the future we’re hoping to put together an advisory board of community members. With luck we’ll have more proposals than we can possibly accept, and the board would then choose the most appropriate ones.”

Little was an abstract painter who, while visiting Jackson Pollock and Lee Krasner at their house in Springs in 1948, bought seven acres of what was once the 130-acre homestead of the Edwards family dating to 1795. He renovated the farmhouse and bought a 19th-century barn from the Gardiner family that he moved to the site for his studio.

He became a permanent resident of Springs in 1951 and, in 1957, he founded the historically significant Signa Gallery in East Hampton with Alfonso Ossorio and Elizabeth Parker. A retrospective of his work was shown at Guild Hall in 1982, and he remained an important member of the East End art community until his death in 1984. 

Music for Montauk will present a concert for piano and strings in the barn during August, and the Pollock-Krasner House and Study Center will hold its Lichtenstein Lecture Series in the barn on Sundays during July and August.

There seems to be an element of sound in almost everything at Guild Hall this summer, including the artwork. With talks, films, theater, dance, and music, the multitasking institution will offer plenty to keep us busy through Labor Day.

The crowd-pleasing events, which will likely sell out, include the return of David Sedaris; Questlove’s Midsummer Night Conversations on Creativity; a taping of Alec Baldwin’s podcast “Here’s the Thing” with the “Tonight Show Starring Jimmy Fallon” announcer Steve Higgins; “Let’s Misbehave: The Music and Life of Cole Porter”; an evening devoted to Jerome Robbins with the New York City Ballet; stand-up comedy with Sandra Bernhard and Hasan Minhaj, and a reading of “Betrayal” by Harold Pinter with Mercedes Ruehl and Harris Yulin. 

The speakers in Florence Fabricant’s “Stirring the Pot” series of talks with culinary celebrities will include Masaharu Morimoto, David Bouley, Carla Hall, and Sam Sifton.

An exhibition by Laurie Anderson will take over the full museum beginning June 2 and will be divided into virtual reality, video performance, and drawing sections. Trained as a violinist and sculptor, she has been working in the fields of visual and performance art for decades. Her stage shows incorporate storytelling, sound, and music. Following her exhibition will be a show devoted to Ellsworth Kelly’s time in the Hamptons, where he spent summers in 1960 and ’61 and 1968 and ’69. The exhibition opens Aug. 11.

New this year is Guitar Masters, a festival scheduled for July 5 through July 7 that will feature live concerts, talks, and film screenings with an emphasis on the guitar. The performers will include Andy Summers of the Police and Richard Thompson, as well as the international musicians David Broza, Badi Assad, and Stormu Takeishi. 

Choir!Choir!Choir! is a more participatory event, a group sing-along founded by Daveed Goldman and Nobu Adilman (a.k.a. DaBu) in 2011. Guests are given a lyric sheet, taught the arrangement, and a video is recorded of the result. Well-known singers have been known to show up to add their voices to the mix. Previous participants have been David Byrne, Patti Smith, Debbie Harry, and Rufus Wainwright. 

Sophie B. Hawkins and Trevor Hall will be guests of the G.E. Smith Portraits series in July. Bela Fleck will perform a solo banjo concert in August. Also in August, three bands — Big Karma, the Sectionals, and Earthreal — hope to raise awareness of gun safety with Young Musicians Unite for Gun Sanity. Proceeds from the concert will benefit gun law reform efforts.

Guild Hall has taken some of its talks and interviews and grouped them as the Summer of Stories series. In addition to Mr. Sedaris’s and Mr. Baldwin’s events, there will be discussions with Philippe Petit known for walking a tightrope between the twin towers of the World Trade Center, Samite, a flutist from Uganda, and more. It has partnered with the Montauk Observatory for two space-themed programs in June with Randolph James Bresnik, a NASA astronaut, and Rebecca M. Bresnik, the associate chief counsel for NASA. Mr. Bresnik will discuss space exploration with Ms. Bresnik and in a follow-up program for adults and children will describe his life as an astronaut.

The Hamptons Institute will return in August with discussions on the opioid crisis, the prevalence of plastics in our daily lives, and the next steps for the “Me Too” movement. In July, Khalil Gibran Muhammad, a professor of history, race, and public policy at Harvard, will discuss “Equality Matters in the Hamptons: Burying Our Heads in the Sand?” The free conversation will be moderated by Ken Miller, a writer, financier, and political activist. It is part of the Thinking Forward Lecture Series presented by Guild Hall and the Bridgehampton Child Care and Recreational Center. 

There will be one-night staged readings of “Daughters of the Sexual Revolution” with Timothy Busfield and Melissa Gilbert, “Locura” by Michael Marrero, and “Three,” a comedy by Eugene Pack. In addition, a fully staged production of “The Summit,” written and directed by Isla Hansen, Tucker Marder, and Christian Scheider, will have a run from Aug. 31 to Sept. 9. An experimental performance, it describes a world where the global elite plan to leave their bodies for a virtual reality beyond them. 

Guild Hall’s comedy schedule is rounded out by Black Thought’s “Delirious,” a presentation of new comedic talent by the rapper and M.C. of the hip-hop group the Roots. Tig Notaro will close out the series in August.

During the summer, Guild Hall will also continue its popular Game Night series on the last Monday of each month. Hosted by Noah Salaway, the evening will feature modern tabletop games involving creativity, problem solving, social skill, and dexterity — and no screens!

Full descriptions, pricing, ticket purchasing, and other information on these and other events are available at Guild Hall’s new website.

The LongHouse Reserve in East Hampton will hold its second annual Salon on the Lawn on Saturday from 5 to 7 p.m., with a rain date set for Monday. Organized by the Junior Council, this year’s event is a collaboration with Tripoli Patterson of the Tripoli Gallery in Southampton, who will present works by Benjamin Keating, Quentin Curry, and Aakash Nihalani.

The salon will feature live music by Hot Club of Montauk as well as drinks and hors d’oeuvres. Tickets are $75, $50 for members, but guests who sign up for a new membership at any level will be admitted free.