Hannock at Grenning

The Grenning Gallery in Sag Harbor is opening a solo show of paintings by Stephen Hannock with a reception on Saturday from 6:30 to 8 p.m. The exhibition will continue through July 3.

The luminosity and depth of his landscape paintings reflect Mr. Hannock’s admiration for the Hudson Valley painters of the 19th century. The unpeopled views of his “Flooded River” series, with its vast skies and dramatically changing weather, bring to mind those forebears. One mural-size work at the Metropolitan Museum of Art is titled “The Oxbow: After Church, After Cole, Flooded, Green Light.”

At the same time, he makes use of modern materials and practices, including collage. Mr. Hannock’s work is in many important public collections, among them the Whitney Museum of American Art, the National Gallery, the Museum of Fine Arts in Boston, and the Smithsonian Museum.

Benefit for Haiti

Jonathan Glynn, an artist from Sag Harbor and a pilot with a small plane, founded Wings Over Haiti, which, after the 2010 earthquake, began by delivering medical supplies, food, and aid to remote regions. The organization went on to open the first Wings Over Haiti school near Port-au-Prince.

Hamptons Artists for Haiti will hold an art show and silent auction organized by Coco Myers and Kay Gibson of folioeast, an online gallery founded by Ms. Myers, on June 17 from 5:30 to 8:30 p.m. at the Watermill Center. The goal of the event is to raise money to help build a new school for 400 children in Ranquitte, Haiti.

More than 45 artists have donated work for the show and auction. In addition, a raffle will offer airplane tours, yoga lessons, nursery certificates, dining, and other prizes. The evening will include hors d’oeuvres, cocktails, and music by Alfredo Merat.

Tickets are $125, and 100 percent of the money raised will go toward the new Wings Over Haiti school. 

Everything Under 10 Grand

The Fireplace Project in Springs will open for the season tomorrow with “9999,” a group show of work by more than 30 artists organized by Edsel Williams. A reception will be held on Saturday from 6 to 8 p.m., and the exhibition will run through July 9.

Like last year’s opening show of the same title, “9999” will be hung salon style, or, as a gallery announcement put it, “It will be wall-to-wall art.” Some of the artists have shown previously at the gallery, while many others have not. All the artworks are priced under $10,000, hence the show’s title.

The Watermill Center will host Artists Table, a brunch prepared by Jason Weiner on Sunday from noon to 2:30 p.m. Mr. Weiner is the chef and co-proprietor with Eric Lemonides of the Almond restaurants in Bridgehampton and Manhattan and L&W Oyster Company, in Manhattan.

The event will feature presentations by two of the center’s artists-in-residence, Bakis and Jeremy Dennis. While at the center, Bakis, a performance trio, is developing a work with a wired piano, multiple live projections, and prerecorded video. A statement by the late John Berger, an art critic, inspired the piece: “Men act and women appear. Men look at women. Women watch themselves being looked at.”

Mr. Dennis, a visual artist and member of the Shinnecock Indian Nation, is using the web as one of three platforms to create “On This Site,” based on over 10,000 years of Shinnecock tradition. He also aims to promote awareness of the rich history of Native American settlements, burial sites, and other sensitive locations throughout Long Island.

Tickets are $75, and advanced registration is required through the center’s website.

Also on Sunday’s menu is a free 90-minute yoga class led by Nixon Beltran on the center’s grounds. Participants have been asked to bring mats, small towels, and props. Registration is also through the website. 

The Montauk Library will present “Five-Finger Discount: A Crooked Family History,” a documentary produced by Rosanne Braun, a Montauk resident, on Wednesday at 7 p.m. The film is based on Helene Stapinski’s memoir of the same title.

Ms. Stapinski’s memoir describes growing up in Jersey City in a family abounding in crooks, corrupt politicians, mobster wannabes, and murderers. The camera also focuses on Jersey City during the 20th century, when for 30 years Mayor Frank (“I Am The Law”) Hague turned the city into a closed system fueled by power, money, and corruption.

“Five-Fingered Discount” premiered on local PBS stations in March. Ms. Braun’s previous film, “Beyond Wise­guys: Italian Americans & the Movies,” aired on public stations in the United States and worldwide.

A question-and-answer session with the filmmaker will follow the free screening.

“Rosa Mystica,” a free concert by the vocal duo Kinga Cserjési, soprano, and Deborah Carmichael, mezzo-soprano, will take place at the Montauk Community Church at 5 p.m. on Saturday. Baroque instruments — two violins, a cello, a viola, and continuo — will accompany the singers.

A Stabat Mater by Giovanni Battista Pergolesi, motets by Claudio Monteverdi and Heinrich Schutz, and “Quartetto in A minor” by Georg Philipp Telemann are on the program.

If the past few years have been a quiet period for Vija Celmins, then we can now gratefully celebrate its end. It began in February with the Matthew Marks Gallery’s recap of her work since her last show in 2010, and will culminate at the end of next year in a vast retrospective opening at the Museum of Modern Art in Manhattan. And, this spring we can enjoy her prints at the Drawing Room Gallery in East Hampton.

For any other artist so prolific and flexible in her choice of mediums (painting, sculpture, drawings, and prints), a print show might seem second-tier, an also-ran. Ms. Celmins, however, revels in the various techniques of relief and intaglio printing, easing in and out of wood engraving, mezzotint, aquatint, drypoint, and etching as others might change sweaters.

The Drawing Room displays just a dozen of these mostly recent works, a sample of all of these mediums. Those familiar with the artist’s oeuvre will recognize subjects she has addressed tirelessly through the decades — the night sky, a spiderweb, and the infinite sea. 

Her compositions are all horizon-less foreground. Waves and current are recognizable, but could easily be merely texture. The wood engravings of the ocean reveal her intricate slices of the wood’s endgrain, carved over and over again with grace and precision. Close up, their white negative space highlights the linear quality of the medium. From a few feet away, the elements blend in a way that resembles brush strokes. 

Contrasted with the inverse relationship of positive and negative space and the painterly surface of the mezzotints of the same subject matter, her prints become didactic in the most aesthetically pleasing way. The brain and the gut both react to her punch in a slightly woozy, intoxicated way.

Her mezzotints inspired from night skies are marked by rich, deep-dark surfaces, created by roughing up the surface of the printing plate with a tool called a rocker to absorb the ink. By smoothing out dots throughout the composition to be left as blank paper, she produces the stars as necessary contrast. There are several “Dark Sky” images on view. The show also offers etchings and aquatints that create the reverse effect — white expanses with black dots and blips, in one case in the same composition, presented like a diptych.

Her mezzotint spiderwebs are masterworks of the medium, pushing its inherent qualities to their maximum intensity. The dark backgrounds are interrupted only by the finest of lines to form an intricate network. Once again, the webs are all shallow foreground. She jettisons the superfluous to concentrate each composition’s impact. 

The versatility of Ms. Celmins’s process across land, sea, and air is remarkable. By taking the recognizable and creating confusion around that recognition, she forces us to consider the abstract in the real and the real in the abstract. It makes you want to applaud right there in the room, just to express your gratitude for such understated yet complicated magnificence. 

The New York Times noted earlier this year how scarce her work is in the marketplace. Collectors and institutions grab it up as soon as it becomes available. It is in evidence at the Drawing Room as well, where the pieces — artist’s and trial proofs — are clearly from her own collection. Red dots fill the exhibition’s price list, a testament to what fine examples are on view.

The back room of the gallery feels a bit like a scene from a science-fiction movie. Alabaster orbs and organic shapes, with their translucent qualities, look like beautiful pods from another planet. 

Working with stone from all over the world, Aya Miyatake finds unique pieces with hints of rose and gold and pulsating veins of white and gray. The burnished shapes the East Hampton artist coaxes from them are graceful and compact. They resemble natural forms at a point or two removed from Ms. Celmins’s nearby pieces. 

Here the subject appears abstract, with the look and feeling of something recalled or understood to be what the shape hints at it being. The titles, in her native Japanese, that often describe her work as “whale,” “round,” “oblique,” further illuminate or obscure their ultimate meaning.

Both exhibitions remain on view through June 26.

Not all summer benefits in the Hamptons are about lavish meals and seeing and being seen. The fund-raising calendar is studded with garden tours, house tours, and other events of a more enlightening nature.

One of them, Landscape Pleasures, the annual horticulture event staged by the Parrish Art Museum in Water Mill, has added a program to its usual agenda. “Inter-Sections: The Architect in Conversation,” a new series of discussions focused on building and designing for a sustainable future, will take place tomorrow at 6 p.m. The Landscape Pleasures symposium is set for Saturday from 9 a.m. to 12:30 p.m., and a self-guided tour of private gardens in East Hampton and Water Mill will take place on Sunday from 10 a.m. to 3 p.m.

Tomorrow’s program, “Landscape Architecture and the Environment: The Aesthetics of Sustainability,” will feature Chris Reed, founder of the landscape firm Stoss and a professor of landscape architecture at Harvard, and Alex Matthiessen, the president of Blue Marble Project, an eco-political consulting firm. The talk, which is open to the general public, is free for members, $12 for nonmembers.

The Saturday morning symposium consists of lectures by three renowned figures in the field of garden and landscape design. Page Dickey, a garden designer and writer, will discuss her favorite gardens. Ms. Dickey has written seven books and countless articles for House & Garden, House Beautiful, Elle Decor, and Garden Design, among others. She is the editor of “Outstanding American Gardens,” a celebration of 25 years of the Garden Conservancy.

Christine Ten Eyck, a landscape architect, will discuss the beauty of Texas and the Southwest. Ten Eyck Landscape Architects, based in Austin, illustrates the capacity for “place-based” landscape architecture to address such global issues as climate, habitat, and water quality protection while creating outdoor environments that foster social interaction and healing.

Chanticleer, a 48-acre garden in Wayne, Pa., will be the subject of a talk by R. William Thomas, who first arrived there in 2003 after 26 years at Longwood Gardens in nearby Kennett Square. He emphasizes an environmentally sensitive and multicentury approach to the development of the 24-year-old garden. Mr. Thomas is chairman of Greater Philadelphia Gardens and co-author of “The Art of Gardening.”

On Sunday, ticketholders can visit the Listowel Garden in Water Mill, the garden of Deborah Nevins in Springs, Arne and Milly Glimcher’s garden in East Hampton, and, also in East Hampton, Grey Gardens, immortalized by the Maysles brothers’ documentary and a Broadway musical.

Tickets to the benefit are $225, $175 for museum members, and include admission to the symposium, the garden tour, and the Friday evening “Inter-Sections” program. Those who purchase tickets at the sponsor level, $400, are invited to a private cocktail reception at the estate of Louise and Leonard Riggio in Bridgehampton on Saturday. Holders of benefactor tickets, which are $1,000, can attend a Saturday afternoon brunch hosted by Veronica Atkins, a Parrish trustee.

New Season at Firestone

Fittingly, the Eric Firestone Gallery in East Hampton has titled the first show of its new season “Season Opener.” The group exhibition of nine artists reflects the gallery’s commitment to creating a dialogue between historic and contemporary art.

The exhibition, which will run through June 18, includes previously unseen works by the pioneering feminist artist Miriam Schapiro and the noted photorealist Howard Kanovitz. New sculpture by Mia Fonssagrives Solow and important works from the estate of Sydney Butchkes are also on view.

Artists new to the gallery are Michael Boyd, whose atmospheric paintings are also on view in a solo show at the gallery’s New York City loft, and Ted Kurahara, whose minimalist monochromes influenced younger artists, including Mr. Boyd.

The New York School artist Kyle Morris’s paintings reflect his connection to his fellow Abstract Expressionists during the 1950s. Tony Robbin is a founding member of the Pattern and Decoration movement of the 1970s. Jorge Fick was a master of color and composition.

East End Photographers

The East End Photographers Group will take over Ashawagh Hall in Springs for a nine-day exhibition from Saturday through June 11. An opening reception with music by Job Potter and Friends will take place Saturday from 5 to 9 p.m. The show, organized by Marilyn Stevenson, will include traditional, digital, and alternative photographic processes. 

Participating photographers are Virginia Aschmoneit, Marilyn DiCarlo-Ames, Zintis Buzermanis, Ann Brandeis, Paul Dempsey, Rich Faron, Ray Germann, Gerry Giliberti, Janet Glazer, Pamela Greinke, Virginia Khuri, Richard Law, Joel Lefkowitz, George Mallis, Joanna McCarthy, Berton Miller, Jim Sabiston, Joan Santos, Rosa Hanna Scott, Jim Slezak, Marilyn Stevenson, Nick Tarr, Mark Testa, and Alex Vignoli.

The gallery will be open from noon to 5 p.m. on weekends and 1 to 5 on weekdays. A closing reception is set for June 11 from 3 to 5 p.m.

Cloud/Surf Photographs

An exhibition of work by Jonathan Clancy, an East Coast surf photographer, is on view at Grain Surfboards NY Gallery in Amagansett through June 20.

The show features 17 images from Mr. Clancy’s “Cloudbreak” series, a collection of abstract cloud/surf photographs captured over the past winter that portray reflections of oceanic themes in the sky.

Mr. Clancy, who lives in Rhode Island, was raking leaves one autumn day when he noticed the light reflecting off the clouds. “There was this cloud that looked like a massive wave detonating over a reef. . . . The image stirred my imagination and I was curious to see how far I could take the concept of finding surf in the sky,” he wrote in material accompanying the exhibit.

Art for Conservation

The Nature Conservancy is launching its summer season with “Sacred Balance,” an art exhibition organized by Beth McNeill-Muhs, an independent curator, that will open with a reception June 3 from 5:30 to 7:30 p.m. at the Center for Conservation in East Hampton. The show will run through July 14.

The featured artists are John Alexander, Scott Bluedorn, Bobbie Braun, Tapp Francke, April Gornik, Kara Hoblin, Cynthia Knott, Jerome Lucani, Jeff Muhs, and Cindy Pease Roe. Twenty percent of sales will support the conservancy’s work for clean water on Long Island.

The exhibition will be open weekdays from 9:30 a.m. to 4:30 p.m.

Pop Updated

“NeoPop Squared,” a group exhibition organized by the White Room Gallery in Bridgehampton and Karyn Mannix Contemporary, will open at the gallery on Saturday with a reception from 6 to 8 p.m. and continue through June 18.

According to a press release, “ ‘Neo­Pop Squared’ artists adapt from [Pop Art’s] forefathers, bringing in a variety of techniques, recognizable objects, and celebrities from popular culture with icons and symbols of the present times.”

The artists selected by Ms. Mannix are Angela China, John Stango, and Sean Sullivan. Derrick Hickman, Jason Poremba, and Laura Benjamin will represent the White Room.

Christine Sciulli in Manhattan

Christine Sciulli, a visual artist known for her installations that explore the perception and properties of light, is exhibiting a new work, “Gesture,” at the Shirley Fiterman Art Center in Lower Manhattan as part of “Text/ure,” a group exhibition on view through Sept. 9 devoted to artists whose work celebrates texture and material.

“Gesture” is a wall installation 30 feet long and 12 feet high that uses carved clear packing tape to explore, in the artist’s words, “the confluence of reflectivity and light.” Drawn from aerial photographs of rivers and roadways, the tape creates pathways of reflection from ambient light sources within the gallery and outside its windows.

In 1973, after 30 successful years in the financial industry, Henry Buhl brought a new camera to his cousin’s wedding. The bride and groom preferred his photographs to the ones taken by the professional photographer they had hired, and a second career was born. He began to receive commissions to photograph art and fashion events for society magazines, and he opened a studio in SoHo.

Twenty years later, he started collecting photographs, the first being a 1920 image of Georgia O’Keeffe’s hands taken by Alfred Stieglitz. In the ensuing years, he amassed a collection of more than 1,000 images of hands and 150 hand sculptures. 

“Hand Picked: Selections From the Buhl Collection,” which will open Saturday at the Southampton Arts Center, includes 111 photographs and 33 sculptures of hands selected by Mr. Buhl and Ryan Russo, an artist and curator of the collection. An opening reception will take place Saturday from 5 to 7 p.m., and Mr. Buhl will lead a gallery tour on Sunday at noon.

With works dating from 1840, the collection encompasses the history of photography. In part because of its theme — hands — and Mr. Buhl’s commitment to represent as many artistic styles as possible, the collection is considered a unique example of the vast range of 19th and 20th-century photographs.

A major exhibition of photographs from the Buhl Collection was held at the Guggenheim Museum in New York City and subsequently traveled to Spain, Germany, and Russia. Other exhibitions from the collection have been mounted at the Norton Museum of Art in West Palm Beach and museums in Korea, Taiwan, and Macao.

In 2016, Sotheby’s sold most of the collection at auction for $12.3 million, the highest ever for a private collection of photographs. However, Mr. Buhl continues to collect. The photographs in the center’s exhibition were not part of the sale, and they include works by Fernando Botero, Man Ray, Pablo Picasso, August Rodin, and Bruce Nauman.

While Mr. Buhl, who has a loft in SoHo and an estate in Southampton, had been approached by many museums to donate his collection, he opted to sell it and give the proceeds to the Buhl Foundation, which supports the homeless, the arts, and education for the underprivileged.

His history of philanthropy includes the founding of the SoHo Partnership, which is dedicated to providing “employment readiness training and job placement to recovering homeless individuals through community improvement projects in SoHo,” according to its website.

Larry Rivers was a remarkably prolific and protean artist, not to mention an accomplished jazz musician, poet, actor, filmmaker, writer, and teacher. His curiosity was boundless, and the provocative and often humorous nature of his art belied the seriousness of his commitment to research.

A new exhibition at Temple Adas Israel, set to open Sunday with a reception from 5 to 7 p.m., will focus on Rivers’s works with Jewish themes. According to Mindy Cantor, who organized the show with Ann Chwatsky, “Larry had been involved with Jewish life and culture for most of his life.” 

Some of his works were autobiographical, among them “Wedding Photo,” a painting that Ms. Cantor said was probably inspired by his sister’s wedding. Another work, “Burial Study V,” which captured his grandmother’s funeral, was inspired by Courbet’s painting “Burial at Orleans.” Rivers often drew from history and art history.

Five works concerning the Holocaust will be on view. Among them is “Four Seasons: Fall in the Forest of Birkenau,” which was derived from a photograph of Hungarian Jews waiting in a birch tree grove, the gas chambers visible behind them.

Felix Nussbaum, a German Jew, many of whose paintings documented the Holocaust, painted “Self-Portrait With Jewish Identity Card” in 1943. According to Ms. Cantor, “Rivers made the same portrait, wearing what Nussbaum is wearing and casting himself like Nussbaum, with the yellow Star of David on his raincoat and an identity card in his hand.”

“Kosher Ford,” a lithograph of a Ford truck and a sign that says kosher in Hebrew, reflects the element of Pop that was often combined in his work with decidedly non-Pop stylistic elements. It was also a pun on kosher food and Ford and “brings together high and low culture and commerce,” Ms. Cantor said.

A drawing titled “Hester Street” is a large triptych depicting the history of the Jews from Moses to Jewish immigrants coming to America, with matzah serving as a symbol of Jews’ freedom from slavery.

“I knew Larry many years ago,” said Ms. Chwatsky, “when I was the director of the Master Arts program in Southampton. I used to bring students to his studio. He was very generous with his time, and it was the most exciting thing that happened to the students that summer.”

Ms. Chwatsky recalled that on the occasion of the temple’s 100th anniversary one of the members asked Rivers to draw a portrait of the rabbi at the podium. “He came a couple of times to get the feel of it. He really got interested in it and did a beautiful drawing of the rabbi that has been at the temple ever since.”

The show will include in-depth information panels, written by Ms. Cantor, for each piece. All the work on view is on loan from the Larry Rivers Foundation, whose executive director, David Joel, worked closely with the curators.

Both Mr. Joel and Helen Harrison, director of the Pollock-Krasner House and Study Center, will speak about Rivers on dates to be announced. The exhibition will run through Sept. 6.

Sotheby’s is a vast international company with many parts, but the auctioning of fine art has been its primary and most visible enterprise since 1744. The recent sale at auction of a painting by Jean-Michel Basquiat for $110.5 million was international news. 

By comparison, S/2, its gallery devoted to the exhibition of modern and contemporary art, maintains a low profile. “Sotheby’s galleries are separate from the auction side of the business,” said Nicholas Cinque, the director of S/2. “We do curated exhibitions throughout the year. There is no bidding.”

Its current exhibition, on view through June 9, features 14 works of art by Alfonso Ossorio. Owner of the Creeks, a 57-acre estate on Georgica Pond in East Hampton, from 1952 until his death in 1990, Ossorio was an art collector and patron known especially for his friendship with Jackson Pollock and his early support of Pollock’s work.

Acknowledging Ossorio’s central role in the East End art community, Mr. Cinque, who has been at Sotheby’s for three years, said, “We wanted to pull the thread a little bit farther. After a great deal of discussion over many months with the Ossorio Foundation, we decided to do a survey of Ossorio’s work intended to define what an Ossorio looks like. People who have heard of Ossorio through his association with other artists don’t necessarily know about the range of his work.”

“He was really entrenched in the scene out here, working alongside the other artists as an equal. But his name has not been recognized as much as some of the legendary artists of his time. It should be.”

The exhibition draws from his three bodies of work: works on paper from the early 1950s, canvases from the ’50s and ’60s, and the assemblages he started working on in the late ’60s and continued through the end of his career, “as they grew in scale and intricacy,” according to Mr. Cinque, who worked closely with the foundation to determine the best examples of each period. A catalog accompanies the exhibition.

In 2013, the Phillips Collection in Washington, D.C., and the Parrish Art Museum in Water Mill organized “Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet,” which focused on the relationship among the three artists as well as their work.

“To me, that was the starting point in a lot of ways for a reconsideration of Ossorio’s work,” said Mr. Cinque. The show and the catalog demonstrated the belief of the two museums that Ossorio was the equal of the other two artists.

After calling the exhibition an “explosion” when it was at the Phillips Collection, Philip Kennicott, The Washington Post’s art critic, wrote, “And then there’s a second explosion, sparked by the least known of the three artists on display, Ossorio, who emerges not just as an important figure in the history of transatlantic intellectual ferment of the mid-20th century, but as a formidable, passionate, and moving artist in his own right.” 

“I think that exhibition really triggered a lot,” said Mr. Cinque. “The Whitney included Ossorio next to Pollock, and there was a range of other placements. And it was fantastic that it was at the Parrish, which owns quite a lot of Ossorio’s work and is less than 10 miles from where he lived.” 

S/2 mounts exhibitions throughout the year, except during the summer. “The focus is on looking to the past and mining art history for those moments or artists who played central roles but have been obscured in some way. We’re part of the Sotheby’s family, but we come at art in a very different way from the auction house.”

He also noted that being in the same building as the auction house means that the gallery gets plenty of traffic. “You get a lot of eyes coming into the building, whether it’s to see Ossorio or a Max Ernst bronze or Basquiat. Exhibitions are often synced up with what else is going on in the building.”

Although he majored in English at Emory University, Mr. Cinque, who is an Amagansett native and attended the Ross School, began to collect and trade art books when he was young. He also read auction catalogs, which are designed to excite the reader about a subject, whereas galleries’ catalogs take a more scholarly approach.