A recent symposium in Manhattan brought together scholars from around the country and across the Atlantic to study “Abstract Expressionism: Works on Paper.” One of the more interesting and revealing presentations came from Helen Harrison, the director of the Pollock-Krasner House and Study Center in Springs, which was a co-presenter of the program with the Clyfford Still Museum and Stony Brook University.

Her talk on “Pollock’s Paper Trail” took an interpretive dive into the check stubs and ledger books of Jackson Pollock and Lee Krasner from 1946, soon after their arrival in Springs, to 1954.

“I’m going to take on the role of Deep Throat from ‘All the President’s Men’ here and find out what was going on with Jackson Pollock during this period by following the money,” she told her distinguished audience.

Ms. Harrison noted that Krasner’s will instructed her trustees to establish a foundation that would run the house as a public museum and study center. After she died, in 1984, the house was left intact; three years later, it was deeded to the Stony Brook Foundation.

Inside the house were two previously unknown drawings by Pollock on restaurant placemats, and a suitcase that had belonged to Alfonso Ossorio, a fellow artist and friend of the couple who was the longtime owner of the Creeks, a 60-acre estate in East Hampton. While the suitcase itself was a significant find, its contents — the financial documents featured in Ms. Harrison’s talk — were of far more interest.

In 1946, Krasner opened a bank account at the Osborne Trust Company in East Hampton in her married name, Lee Krasner Pollock. She and Pollock had married during the preceding October before making Springs their primary residence. Since Pollock was making all the money at the time, Ms. Harrison raised the question of why it should have been his wife’s name alone on the account. It was reasonable to assume, she said, that it was because of Pollock’s drinking. 

He was treated, successfully, by Dr. Edwin Heller, a general practitioner here whose name appears on check stubs from the summer of 1948. That November, Krasner finally put Pollock on the bank account. After Dr. Heller’s death in a car accident in March 1950, Pollock went back to drinking, but his name stayed on the account.

The checks he signed that were projected on the screen were somewhat jarring. Pollock’s iconic signature on pieces of paper sent to plumbers, carpenters, and other tradespeople looked almost absurd. It seemed far more congruous to see his signature on the numerous checks he wrote to artists over the years, including Mark Rothko, Bradley Walker Tomlin, James Brooks, and Clyfford Still, in amounts ranging from $20 to $150. It is tempting to wonder what those payments were for — a repayment of loans for art supplies, or, since most were dated 1950 or later, a way to hide his bar tabs?

The checks and ledgers also recorded the couple’s monthly mortgage payments — $37.98 — for their Springs house. Peggy Guggenheim loaned them the  $2,000 down payment on its $5,000 purchase price, and $157 was paid for furniture and other things that were left behind by the previous owner. Ms. Harrison described the loan contract, which stipulated that Pollock’s patron would have exclusive right to his paintings for two years, except for one painting that he could keep for himself. He also received a monthly allowance of $300 against sales, of which $50 was held back to repay the loan.

This “complicated arrangement” seems punitive now, she said, “but at the time Jackson Pollock was unknown.” Once the loan was repaid, artist and collector returned to their original compensation arrangement, established in 1943 when she first showed his work at her New York gallery, Art of This Century. That earlier agreement stipulated that she would receive a third of the purchase price of his works.

The financial documents were paired with the artwork Pollock created from those purchases. Ink-soaked drawings on Howell paper appeared with an image of the check Pollock wrote for the cost of the paper. His 1950 glass painting “No. 29,” shown in a film by Hans Namuth, who captures the application of the paint from the other side, was shown with a check for $30 to the Riverhead Glass Company. Ms. Harrison also included this newspaper’s account of the artist’s death in 1956.

Jennifer Field, another presenter, also referenced “No. 29” in her talk on the influence of printmaking in Pollock’s art. She said the glass painting could be seen as a printing plate or mirror of itself, a theme taken from gestalt psychology and popular in the studio of Stanley William Hayter.

Hayter was an avant-garde printmaker who opened a studio at the New School in 1940 after running a collaborative workshop in Paris for many years. Many of the Abstract Expressionist artists, who worked alone all day in the studio, liked the social side of making prints. Hayter’s insistence that they work directly on the printing plate or lithographic stone, rather than making preparatory drawings, and work in a completely abstract or experimental style, also attracted them.

David Acton, who spoke about printmaking and Abstract Expressionism, said that Willem de Kooning, another longtime Springs resident, was inspired in Hayter’s studio to use a mop to draw in wet touche (a kind of ink) on a stone, making a composition which he then ran through a press. Pollock and Reuben Kadish, said Mr. Acton, would spend “long drunken nights in the studio making prints together.” Those prints were not intended to be sold, but as experimental exercises.

Richard Shiff, a professor at the University of Texas, offered a talk that described itself in its title, “De Kooning Is Drawing.” He argued that even when the artist was painting he was drawing, in a style that Pablo Picasso may have called “melted Picasso.”

Other artists associated with the South Fork who were referenced in the all-day event included Robert Motherwell, Helen Frankenthaler, Joan Mitchell, and Franz Kline. The symposium, which took place in space leased by Stony Brook University, was the last such event to be held there under the school’s banner. It will close the space at the end of this month. 

“Underwater Dreams,” a 2014 documentary about the sons of undocumented Mexican immigrants who create a robot from Home Depot products, will be shown at the Parrish Art Museum in Water Mill tomorrow at 6 p.m.

On a whim, two high school science teachers entered their school in an underwater robotics competition sponsored by NASA and the Office of Naval Research. Four students fashioned Stinky the robot, in part with PVC pipe and duct tape, and their creation defeated M.I.T. in the competition.

Tickets are $12, free for members and students.

“Love Letters,” the A.R. Gurney play in which two characters, Melissa and Andrew, sit side by side reading letters, notes, and cards that span nearly 50 years of their separated lives, will be performed by Andrew Botsford and Jane Baldwin on Saturday at 2 p.m. at the Southampton Inn.

  The free program, which is being presented by the Rogers Memorial Library, the Southampton Historical Museum, and the inn, will be followed by a reception. The inn is taking reservations at 631-283-6500.

The Chickpeas, an East End all-female vocal ensemble, will perform a free concert at the Montauk Community Church Coffeehouse tomorrow at 7 p.m.

Consisting of Marcia Previti, Jane Hastay, Deb Coen, Lisa Shaw, and Elizabeth Sarfati, the group will perform “After the Gold Rush,” “How Can I Keep From Singing,” “Lullaby,” “Wings of a Dove,” and several other tunes. Their music is sung a cappella or with piano accompaniment by Ms. Hastay.

The local action of the 2017 campaign of One Billion Rising, a mass international demonstration launched five years ago to end violence against women, will be presented in Guild Hall’s JDTLab series on Sunday at 2 p.m. 

The Neo-Political Cowgirls and the Retreat have invited community members to participate in the event, which features spoken word, song, and dance. Reservations are required for the free program.

The Wamponamon Masonic Lodge No. 437, which was established in Sag Harbor in 1858, has been off limits to nonmembers for as long as anyone can remember, save for a single open house last June when the public was invited to see the painted Masonic symbols and celestial imagery on the inner sanctum’s walls and the domed ceiling by John Capello, an artist and member of the Masonic Brotherhood. 

That day, it turns out, was not the one and only opportunity to visit the lodge, as Patrick McErlean, its Worshipful Master, had hinted to The Star last year. On Saturday at 8 p.m., the lodge will host the first of a winter music series, with a concert by Rafaela Gurtler, a jazz vocalist and flutist who grew up in Sag Harbor. 

“It’s a really nice space,” Mr. McErlean said last week, “so we figured, why not use it?” Another event in the series will be a performance by a string quartet, he said, and the Masons may host poetry and other readings as well. 

Four events are planned for the music series, which will conclude in the spring. If they prove popular, “we’ll do them through the fall and winter” next year, Mr. McErlean said, possibly doubling the number of performances in the space, which is not air-conditioned and does not host meetings in the summer. 

Ms. Gurtler, who lives in East Hampton, is a cantor at Most Holy Trinity Catholic Church in East Hampton. Last week she promised “a little Valentine’s Day concert” on Saturday, and while the song selection remains a secret, those attending can expect a rendition of the popular jazz standard “My Funny Valentine.” Wayne Sabella and Richie Scollo will accompany her on piano and saxophone respectively.  

Mr. McErlean said last year that he hoped to revive interest in the Masons and add new members to the lodge, which was once a hub of the community. More members, he said, would add muscle to the group’s charitable efforts. 

“We give money to the food bank . . . we could give a bigger scholarship to a local high school student. We’re trying to find our own way of fund-raising that would be both interesting and bring people from the community into the lodge. It would be nice to get members. At the same time, it’s such a beautiful space, and it’s nice to let people come in and see it, and use it.” 

Tickets to Saturday night’s concert at Wamponamon Masonic Lodge, at 200 Main Street in Sag Harbor, are $20. Refreshments will be served.

Karyn Mannix Contemporary and the White Room Gallery in Bridgehampton will present the “12th Annual Love and Passion: The Dirty Dozen Art Show” tomorrow through Sunday at the gallery, with a wine reception to be held Saturday from 5 to 8 p.m.

More than 80 artists from across the country will exhibit photographs, paintings, and mixed-media work. Visitors can cast their votes for Best in Show, Most Thought Provoking, and Most Original. Winners will be announced Sunday afternoon at 2.

A 50-50 raffle will be held at the Saturday opening, and a “lingerie soiree paper doll boutique trunk show” will take place Sunday from 1 to 3 p.m. Retro, true vintage, and vampy lingerie styles as well as sexy accessories, stockings, and shapewear in sizes XS to 2X will be for sale, according to a press release.

Bay Street Theater in Sag Harbor and the Hamptons International Film Festival will present the 2017 Academy Award nominees for Best Live Action Short Film and Best Animated Short Film in two programs on Saturday at Bay Street, two weeks before the Oscar telecast.

Program one will begin at noon with the animated shorts and continue at 2, after an intermission, with the live action shorts. Program two will rerun the films at 5 and 7. Running time for the animated films is 90 minutes, 130 for the live action films. Tickets are $14 per individual screening, $24 per program, $12 and $20 for HIFF members.

Upcoming are Joe Lauro’s “Legends of Rock” films, which will be presented tomorrow and March 10, and a Hamptons Take 2 Documentary Film Festival screening on April 23.

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.