“Madoo Talks: House and Garden,” three lectures that will examine a variety of relationships between domestic life and gardens, will take place in the Sagaponack conservancy’s winter house studio on Sundays at noon during February and March.

Joanna Groarke, director of public engagement and library exhibitions curator at the New York Botanical Garden, will present “Redouté to Warhol: Bunny Mellon’s Botanical Art” on Sunday. At her Virginia farm, Mrs. Mellon created an environment in which gardens and house flow easily from one to the other. 

Her collection of botanical art ranges from such artists as Pierre-Joseph Redouté and Jacques Le Moyne de Morgues to Pablo Picasso and Andy Warhol. The collection was the subject of an exhibition that closed on Feb. 12 at the garden’s LuEsther T. Mertz Library Art Gallery. Ms. Groarke will discuss the collection and Mrs. Mellon’s love of gardens.

On March 19, Marshall Watson, a well-known interior designer and passionate gardener, will discuss “The Art of Elegance.” His new book of the same title includes many garden environments that flow from his interiors and reflect his vision of house and garden as a complete unit.

The series will conclude on March 26 with “Wild by Design: Strategies for Creating Life-Enhancing Landscapes,” a talk by Margie Ruddick, an award-winning landscape architect whose practice is driven by a belief that designers should look beyond the rules of landscape convention and the sustainability checklist.

Tickets are $25, $20 for members. A reception will follow each lecture.

The Montauk Library will present “Yvette Sings Ronstadt: Rock and Roll, Country, Big Band, and Mexico,” a free concert by Yvette Malavet-Blum, on Sunday afternoon at 3:30.

Ms. Malavet-Blum, who has been performing in theater and cabaret clubs in Manhattan and on Long Island since 1992, will draw from Linda Ronstadt’s vast repertoire of rock, country, pop standards, and Spanish music. She will be accompanied by Bob Boutcher on piano and guitar and her backup singer, Rose DeCicco, on bass guitar.

Iris Smyles, the literary editor of The Star’s East magazine, will host “An Evening of Love and Other Horrors” to celebrate Valentine’s Day at the Malia Mills shop on Main Street in East Hampton. Starting at 5 p.m. on Tuesday, the event will feature readings by Patricia Marx, a humorist and staff writer at The New Yorker, Frederic Tuten, whose books include “Tintin in the New World,” and Ms. Smyles herself. She is the author of two novels, “Iris Has Free Time” and the recent “Dating Tips for the Unemployed.”

What’s more, an art show curated by Folioeast will be on view. A reception with light fare follows.

“I Am Jane Doe,” a documentary about sex trafficking of under-age girls on Backpage.com, directed by Mary Mazzio and co-produced by Ms. Mazzio and Alec Sokolow, a screenwriter who lives in Sagaponack, will premiere tomorrow at AMC Empire 25 in Manhattan and in five other cities across the country.

The film opens in 2009 in St. Louis, where Kubiiki Pride talks about the abduction of M.A., her 13-year-old daughter, who had been missing for 270 days when she found her photo on the adult section of Backpage.com, a website that accounts for 80 percent of the online sex market. Despite the mother’s pleading, Backpage refused to remove M.A.’s photograph. She eventually recovered her daughter and sued Backpage, but to no avail.

The pattern is always the same: Under-age children, often runaways, are abducted and sold online for sex. Besides M.A. and her mother, the filmmaker follows the stories of J.S., a 15-year-old from Seattle, and “Jane Doe” of Boston, through interviews with parents and the girls themselves. Their accounts are harrowing, marked by repeated rapes, drug addiction, guilt, and self-loathing.

The film is driven not only by the stories of the victims, but also by that of Backpage, which, until 2012, was owned by Village Voice Media, the publisher of the country’s first alternative weekly newspaper, once a crusader for liberal causes.

In a series of legal challenges in Seattle, Boston, and New York City, and an investigation into Backpage by a Senate subcommittee in Washington, the rights of the company have been repeatedly upheld due to Section 230 of the 1996 Communications Decency Act, which states: “No provider or user of an interactive computer service shall be treated as the publisher or speaker of any information provided by another information content provider.” In other words, Backstage could not be held liable for the content posted by others on its website.

The film follows the story to the present day. Last month, the Senate subcommittee subpoenaed Carl Ferrer, the C.E.O. of Backpage, and two controlling shareholders, Michael Lacey and James Larkin, all of whom pleaded the Fifth Amendment. Also last month, the Boston attorney John Montgomery’s petition to the U.S. Supreme Court to hear the case was denied. Congress has yet to amend Section 230.

Mr. Sokolow became involved with the project after a chance meeting between his wife and a friend of Ms. Mazzio. He and the filmmaker began to talk, and agreed that if something came up it would be great to work together. “About four or five months later Mary called me and said she had found funding for this new project,” he said. She asked him come on as a consultant. 

“As I started working, we realized that more and more I was kind of co-producing with her. I came on at the beginning of the compilation and editing. There were about four and a half hours of footage. I was able to connect some dots and help with the narrative structure.”

The many threads — the runaways and their parents, Back page, the lawyers, and the politicians — presented a challenge. “What we tried to do is simplify it. It has a lot of aspects, but it really has to feel like one story we’re trying to tell. And that was where most of our efforts went,” Mr. Sokolow said.

Ms. Mazzio and Mr. Sokolow also collaborated on a side project: an animated short for prevention and education for high-risk children. It will be released in April and used as part of a curriculum for youths.

“For me, walking into the room to work with these kids was one of the scariest moments in my career because I just didn’t know what to expect,” he said. “As it turned out, working with them was without a doubt the highlight of my career.” 

“I Am Jane Doe” does not have a happy ending, but the parents, M.A., J.S., and Jane Doe all express their determination to keep fighting for an amendment to Section 230 and their belief that they are giving a voice to all those victimized by their pimps.

“The state of California has filed charges for pimping,” said Mr. Sokolow, “and we hope there will be other attorneys general who will follow suit and change the law and push this entire trade into the dark web. You’re never going to completely put a stop to under-age sex trafficking, but it will make it much harder for the average man — and they are mostly men — to access it so conveniently.”

Update, Feb. 15

A surprise Grammy nomination for Best Contemporary Blues Album did not translate into an award for Janiva Magness and her band, which includes Zach Zunis, a guitarist who lives in East Hampton.

The South Fork is no stranger to world-class musicians and recording artists, be they summer visitors, second-home owners, or year-round residents. One in the latter category may not be a household name like Paul McCartney, Madonna, or G.E. Smith. Mr. Zunis, who is also an advertising salesman at The Star, plays with the Los Angeles-based singer Ms. Magness, whose album, “Love Wins Again,” was nominated. The Grammy instead went to "The Last Days Of Oakland" by Fantastic Negrito.

Originally, Feb. 9

“Love Wins Again” is the sixth album he has recorded with the singer, Mr. Zunis said recently, but “she’s been singing her ass off for years, a huge part of the Los Angeles music scene.”

The album faces formidable competition from artists including the Record Company, Joe Louis Walker, and Kenny Neal. Nonetheless, the nomination is a lesson in determination. “Through thick and thin, she has persevered,” said Mr. Zunis, who met the singer in the late 1980s after moving to California from his native Dayton, Ohio. “I admire her in so many ways.” 

The Grammy nomination is a first for both Ms. Magness and Mr. Zunis, whose career is also a study in perseverance. When he was a youth in Dayton (“the funk capital of the world,” he informed a colleague), his first band, the Slugs, attracted the attention of members of the Ohio Players, including Marvin Pierce, who produced and shopped a demo for the band. 

Mr. Zunis and a girlfriend later moved to San Diego, where he played with several bands. They subsequently moved to Los Angeles, where he held a succession of daytime jobs until, inspired by a favorite guitarist, Ronnie Earl, he quit a sales job to focus on music. “The girlfriend freaked out,” he remembered, “but I said, ‘I have to do this.’ ”

After sitting in just a few times with the late William Clarke, a top harmonica player and singer, he was asked to join Mr. Clarke’s band and go on tour. “He took me under his wing,” Mr. Zunis said. “I’d go to his house and he would give me a pile of cassettes and a jar of gumbo to take home.” 

“I played with him solidly for about three years,” Mr. Zunis said, recording several albums with Mr. Clarke for the Alligator Records label, “Blowin’ Like Hell” and “Serious Intentions” among them. “I learned so much from him — he was quite a musician, and a real individual.”

The late Lester Butler, another harmonica player and singer, was often in the audience at Mr. Clarke’s concerts — “Clarke was the man to see,” Mr. Zunis said. Mr. Butler signed with Def American Recordings, the label founded by the producer and music executive Rick Rubin, and asked Mr. Zunis to join his band, the Red Devils. 

The group recorded at the famed Ocean Way Recording in Hollywood, the former United Recording, where  legends including Frank Sinatra, Nat King Cole, Ray Charles, the Rolling Stones, and Michael Jackson had cut classic tracks before them. “As we were walking through the door, I heard this ominous sound,” Mr. Zunis said. The sound was the inimitable voice of Johnny Cash. “We walked in the control room, and there was Rick Rubin recording Johnny Cash,” he said. “They finished their session, and we started ours. We got to meet him — it was so cool.” 

He played with other groups, and recorded another Alligator Records release, “Back Where I Belong,” with William (Billy Boy) Arnold, who had played harmonica on Bo Diddley’s “I’m a Man” in 1955. He also played on “King of Hearts” by the late blues and soul singer “King” Ernest Baker. More recently, Mr. Earl, who had inspired the young Mr. Zunis in Dayton years earlier, saw him perform with Ms. Magness in the Boston area and asked him to play on his 2014 release, “Good News.” 

Ms. Magness had discovered Mr. Zunis playing with Clarke at Music Machine, a Los Angeles venue, and asked him to join her group. “We went on the road several times,” he said. “We’ve been together ever since. We’ve made some good music together.” 

The guitarist, who counts B.B. King, Johnny Winter, and Albert King among his influences, also finds time to play in another group, Big Apple Blues, and appears on its recordings “Energy,” “Live at O’Flaherty’s,” and “Brooklyn Blues.” 

Behind every successful man is a woman, of course — and perhaps a child as well. “My wife, Nitchie, has stuck by me through it all,” Mr. Zunis said. “She is such a big part of enabling me to do this kind of stuff.” Bronte, their daughter, has inherited her father’s passion for the guitar. “I showed her a few things,” he said, “and she’s totally into it.”

Four at Malia Mills

The Winter Salon Series at Malia Mills, a pop-up gallery in the clothing purveyor’s Main Street, East Hampton, space, will open a new group exhibition with a reception Saturday from 6 to 8 p.m. Organized by Folioeast’s Coco Myers and Kay Gibson, the show will run through Feb. 27.

Christa Maiwald will show four photographs from her “Landscape Cakes” series and a new hand embroidery of Gordon Matta-Clark’s “Split House” as a cake. Christine Matthai will be represented by three new abstract photographs on Plexiglass, which she has described as “abstract visual meditations with spiritual dimensions.”

The abstract painter Anne Raymond, much of whose work is inspired by the movement of water and sky, will show lushly painted oils that reflect the centrality of color to her work. Janice Stanton, who works in photography, film, and collage, will present a suite of mixed-media collages, which include found objects, pieces of photographs, calligraphy, and other elements.

Don Christensen in New York

Harper’s Apartment, the Manhattan branch of East Hampton’s Harper’s Books, will open “Parallel Lines,” a show of 20 years of work by Don Christensen, with a reception for the artist today from 6 to 8 p.m. The exhibition will continue until late March.

Mr. Christensen, who lives in Springs, has used a variety of mediums and processes in his work. In the 1990s, he constructed assemblages by connecting pieces of found wood into rectangular patchworks. Later, in works on canvas, he applied layers of paint to create voluminous trapezoidal shapes on colorful backgrounds.

He has returned to found wood in his most recent work to create rough surfaces for the picture planes. Craft, color relationships, and geometry are at the core of his oeuvre. Mr. Christensen is also a musician who has played drums with No Wave bands, the Philip Glass Ensemble, and Brian Eno, among others, and his work has been aptly compared by the gallery to “polyrhythmic percussion.”

Southampton Artists at S.C.C.

The Southampton Artists Association Winter Art Show will take place from today through Feb. 26 at the Southampton Cultural Center. A reception is set for Saturday from 4 to 6 p.m. The exhibition includes photographs, paintings, drawings, and sculpture.

Guild Hall will present an encore screening of the National Theatre Live production from London’s Donmar Warehouse of George Bernard Shaw’s classic play “Saint Joan” on Saturday at 7 p.m.

Gemma Arterton plays the French peasant who claimed to experience visions from God and eventually convinced the Dauphin to let her lead the French troops against the English at Orleans during the Hundred Years’ War. While she was instrumental in turning the tide of the conflict, she was later captured by the enemy, tried for witchcraft and heresy, and burned at the stake. 

In his review of the production for The Independent, Paul Taylor wrote that “Gemma Arterton . . . is radiantly persuasive as Bernard Shaw’s heroine in this richly rewarding revival directed by Josie Rourke.”

Tickets cost $18, $16 for members.

“Visionaries,” the new Solomon R. Guggenheim Museum exhibition, which opened on Saturday, celebrates the avant-garde instincts and connoisseurship of the people who shaped the museum’s collection. Although it contains precious few American artists, that hasn’t stopped its curators from celebrating one American painting in particular, Jackson Pollock’s “Al­chemy.”

The painting is one of the last in the exhibition, placed in the museum’s highest bay at the top of the rotunda. It almost feels like a pilgrimage to get there, but what a journey. The museum’s collection of 19th to early 20th century paintings looks fresh and inspired, with a deep dive into such artists as Vasily Kandinsky, of whom the museum has a great number of holdings.

“Alchemy” returns to the United States from the Peggy Guggenheim Collection in Venice for the first time in a half century. It appears much as it did before it left, the beneficiary of an extensive and exacting cleaning in 2014 in Florence. Before its cleaning, the painting had been dulled by layers of dust and residue.

On its own, “Alchemy” stands as both an apex of Pollock’s drip-painting style, and a worthy representative of American midcentury Modernism in a European venue. But the museum took it one step further with an auxiliary exhibition in its basement devoted to both its importance in art history as well as its cleaning, giving viewers an inside look at how modern paintings are handled in state-of-the-art conservation labs.

According to the Guggenheim, the cleaning consisted of stabilizing the surface where the paint may have separated from the canvas, micro-vacuuming the dust, and the application of special cleaning solutions designed specifically for the materials in the paint. 

The analysis of the painting by the conservation team revealed that Pollock used both house enamel paint and oils in the work, and also ground sand and pebbles into the canvas. The surface analysis, which is shared on an interactive touch screen monitor as well as with a three-dimensionally printed facsimile, shows the depths of his paint application and a rich topography that gives his paintings their characteristic complicated depth and presence. 

The touch screens, some of them focusing on the conservation and others on the art historical background, offer detailed biographical information, reproductions of important archival documents, and high-resolution images of “Alchemy” before and after restoration, which can be zoomed into to draw out the tiniest of details. 

A video showing the conservators at work in their studio includes Peggy Guggenheim discussing what Pollock meant to her and the European and American art world several decades ago. It’s a fascinating document that travels back and forth through past and present in a smooth and coherent fashion.

Also on view are archival photographs of the artist in his studio and the familiar paint cans left in the studio at the time of his death, which are typically on view at the Pollock-Krasner House and Study Center in Springs.

Carol Stringari, the deputy director and chief conservator at the Guggenheim, and Susan Davidson, senior curator of collections and exhibitions, put together a rich and immersive mini-exhibition that demonstrates the complexities that can be mined from just a single artwork.

The exhibitions will remain on view through Sept. 6.

The Southampton Arts Center will present “Beneath the Underdog: The Music of Charles Mingus” on Saturday at 7 p.m. Selections from Mr. Mingus’s music will be performed by Claes Brondal on drums, Bob Hovey on trombone, Santi Debriano on bass, Eric Schugren on saxophone, and Bill Smith on piano.

Mingus, the legendary bass player who died in 1979, is one of the essential composers and performers in the history of jazz. “Beneath the Underdog” was his celebrated memoir. 

Tickets are $15, and the doors will open at 6:30 for refreshments from Union Cantina. The program has been organized by the Jam Session, whose frequent home is Bay Burger in Sag Harbor.

In Process @ the Watermill Center will provide an opportunity for engagement with Cleek Schrey and Gillian Walsh, two of the center’s artists in residence, on Saturday from 2 to 4 p.m.

A fiddler, improviser, and composer from Virginia, Mr. Schrey is developing a new work during his residency using electronics and his own unique instrument, a custom-built violin with 10 strings.

Ms. Walsh, an artist and performer from Brooklyn, is collaborating at the center with the writer Emily Hoffman on a new work that applies choreographic thinking to a technological landscape. 

The event is free, but reservations are required.