The Met: Live in HD will present Gaetano Donizetti’s “Roberto Devereux” on Saturday at 1 p.m. at Guild Hall. First performed in Naples in 1837, the opera is based on a historical incident, the execution for treason of Robert Devereux, the favorite of Queen Elizabeth I.

Sondra Radvanovsky has undertaken the challenge of singing all three of Donizetti’s Tudor queens — Anne Boleyn, Mary Stuart, and Elizabeth — in the course of a single Met season. Sir David McVicar staged all three productions. Tickets are $22, $20 for members, $15 for students.

A free program of readings, short films, an exhibition, and a multimedia performance will introduce Guild Hall’s first five artists in residence on Sunday at 4 p.m. in the John Drew Theater. The artists are Arcmanoro Niles, a painter; Iris Smyles, a writer; Tom Yuill a poet, and Jennifer Hsu and James Wang, multimedia artists.

Also on Sunday, the museum’s “Table Talk” series will feature Ralph Lerner, a noted attorney and art advisor, who will discuss general estate-planning issues and matters of specific concern to artists at 11 a.m. Refreshments will be provided.

Managing one career at a time is enough for most people, but not for Setha Low. After receiving her Ph.D. in anthropology from the University of California, Berkeley, in 1976, she established herself as a leading scholar and researcher in the field of cultural anthropology, focusing on the politics of public spaces, their increasing privatization, and the need to preserve diversity in their use.

By 2002, she had written or edited seven books, received dozens of fellowships, grants, and awards, and was a professor of environmental psychology and anthropology at the Graduate Center of the City University of New York. That same year she undertook a career as an artist, starting with a ceramics class in Bridgehampton.

Standing in the office of her house deep in Northwest Woods, she said, pointing to three ceramic sculptures on a high shelf, “Somewhere along the line I just decided I wanted something more in my life. I’m an academic who turned to art to get away from being an academic. When I’m making art I turn off my mind as much as possible, so whatever comes out is mediated by the unconscious or whatever is the other part of me.”

While her career as an anthropologist has continued apace since 2002 and shows no sign of slackening, she has produced since then a substantial body of ceramic sculpture that reflects a ceaselessly inquiring mind and a thirst for experimentation with different materials and techniques.

Speaking of the development of her art, Dr. Low said, “There’s this tacking back and forth between more and less classical or figurative work. I’m not concerned with being representational. I’ve always tried to work toward abstraction, but the figure keeps coming through.” That oscillation was exemplified by a comparison of “Unwrapped Copper,” a 12-inch-tall columnar ceramic piece in which the body is barely suggested, and a more classic bronze-glazed torso. 

“I’ve been in a lot of places and seen art all over the world, in every culture,” she said. “My artwork is a lot about space and people. Some of it is intercultural, some of it arises from the fact that people have worked with clay forever, that it’s so human to express ourselves in clay.” 

She brought out several black-and-white pieces. The black clay is the ground on which white liquid clay, or slip, is dripped. “These are very pure in that you’re using materials that are very organic, very early. The anthropologist in me would go to a site and see pots that are 10,000 years old, and I could see the thumb marks. I realized they pinched pots the way I pinch pots.”

Like much of her work, the black-and-white pieces, whose shapes resemble breastplates, refer to the human body as an object and as a surface. “These pieces especially are influenced by Australian Aboriginal work, the idea that they represent their landscape on the body. These are attempts to talk about different landscapes, to put my landscape on the body.”

She pointed out another piece consisting of shards of fired clay wrapped in mesh. “The idea here is that the clay pieces are always done intuitively, while the mesh means the city, urbanity, or civilization. I see clay as organic, original, earlier, and then when I start putting it with metal or leather I’m beginning to contrast that with the lives that we live.”

Dr. Low was born and raised in Los Angeles. Her stepfather was an actor, and her mother had a gift shop and always painted. She grew up with art, went to galleries, and spent a lot of time with artists. “I was just a little art groupie. Then I took an art class with my mother. She got an A and I got a C, so I gave that up and went the academic route.”

She started in biology and psychology at Pitzer College, one of the Claremont Colleges. “I was a very good biologist, and I went to graduate school as a physical or biological anthropologist. When I realized you couldn’t study people, just monkeys, as my best friend does — she studies baboons in Africa — I switched. It wasn’t that I didn’t love biology, but I thought the idea of living in the lab wasn’t for me.”

After graduate school she went to Latin America to do fieldwork, and since then has worked in Costa Rica, Guatemala, El Salvador, Mexico, the Dominican Republic, Cuba, Venezuela, the United States, Japan, Spain, France, and Italy, with site visits to Senegal, Kenya, Ghana, South Africa, Peru, Brazil, Ecuador, Chile, and Colombia.

Dr. Low was a professor of landscape architecture and regional planning, city planning, and anthropology at the University of Pennsylvania before moving, in 1989, to CUNY. “I’ve had an unusual career. There aren’t other anthropologists out there who do what I do. I wanted to replicate myself. In other words, I wanted to produce Ph.D. students who pulled from the various disciplines I was involved with.”

Her colleagues at CUNY have included David Harvey and the late Neil Smith, both of whom, like Dr. Low, have engaged the disciplines of psychology, earth and environmental science, anthropology, history, and geography. “David does it at a macro level. As an anthropologist, I do it on the ground, asking questions like, ‘Why are people living in gated communities? How do we maintain really diverse parks?’ ”

Another element affecting public space is surveillance, especially since 9/11. “I’m very interested in why Americans feel too afraid for the circumstances we’re living in. I just returned from Palestine, where there really is danger, and they are less afraid than we are. Here it has something to do with politics and the manipulation of fear. I want to look at it in everyday life and get people to stop for a moment and think about what would make them less fearful. And what would make them less fearful is to get to know ‘the other.’ ”

The concerns of her academic work are inseparable from those of her art. “There is something that artists speak about when they use the body as a landscape, and for me it’s sometimes about othering, and sometimes about violence, and sometimes about bringing us together. Sometimes it has to do with what I’m writing and sometimes with what I’m feeling or trying to work out. I’m trying to work against the conflict and bring us to a place where we would know the ‘other’ and be comfortable with it.” 

Dr. Low, who first came to the East End in the summer of 1987, links her attachment to the area to growing up near the ocean in Los Angeles. She and her husband, Joel Lefkowitz, also a professor and the author of the book “Ethics and Values in Industrial-Organizational Psychology,” rented here for several summers before building their house in 1994. 

“We thought it was a summer house, but we never left. I know the attachment has something to do with the light and the openness and the beauty and the ocean. I go to the beach, and I hike in the woods here. I believe the landscapes of our childhood get deeply within you, and the beach was important to me.” Because she teaches two days a week, they also have a house in Park Slope, but “every time I get here to where the sky opens up, I know I’m home.”

Antonakos at Drawing Room

The Drawing Room in East Hampton will present “Stephen Antonakos: Neons and Drawings, 1970s” from tomorrow through May 9. The exhibition will include 6 neon wall sculptures and 10 related drawings. On Saturday at 4:30 p.m., Eric Booker, assistant curator at the National Academy Museum, will discuss Mr. Antonakos’s work. A reception will follow.

In his drawings, Mr. Antonakos used graphite, colored pencil, and a sprayed fixative to simulate on paper the effect of light in space. When he began to work in neon in the 1960s, he expanded the possibilities of geometry. The show will focus on how his placement of radiant circular or square neon elements engaged their surrounding architecture and inhabited a realm between two and three-dimensionality. 

New at Ille Arts

“Selvedge,” an exhibition of work by Maeve D’Arcy and Crystal Gregory, will open at Ille Arts in Amagansett with a reception Saturday from 5 to 7 p.m. and remain on view through April 25.

The work of both artists, who live in Brooklyn, is inspired by weaving and textile traditions, though Ms. Gregory uses lace structures as a conceptual foundation while Ms. D’Arcy’s work in acrylic, ink, and graphite on paper and wood panels often includes grids and other patterns suggestive of woven surfaces. 

The title of the exhibition refers to the finished edge of a piece of fabric.

Art Groove in Springs

The sixth annual “Art Groove,” a multimedia event including art, music, and video, will take place at Ashawagh Hall in Springs on Saturday from noon to 11 p.m. and Sunday from 11 a.m. to 5 p.m.

A reception, set for 6 to 11 on Saturday night, will include a live performance of rhythm and blues rock by Frank Latorre and the King Bees at 7. In addition, “Reboot,” a mapped motion graphics video by John Jinks, will be projected on the outside of Ashawagh Hall.

The exhibition will include work in a variety of mediums by 14 East End artists.

Philippe Cheng at Parrish

Philippe Cheng and his recent book “Still: The East End Photographs,” will be the focus of a panel discussion and book signing at the Parrish Art Museum in Water Mill tomorrow at 6 p.m.

A fine art and commercial photographer who lives in Bridgehampton and New York City, Mr. Cheng turned his camera on the region’s landscape but shifted the focus plane to create deliberately blurred scenes that evoke a mood rather than specific visual details.

He will discuss his book with Elisabeth Biondi, a curator; Jack Lenor Larsen, the textile designer and founder of LongHouse Reserve; Terrie Sultan, the Parrish’s director, and Edwina von Gal, a landscape designer. Tickets are $10, free for members and students, and copies of “Still” will be available in the museum’s bookshop.

Three Figurative Painters

The Grenning Gallery in Sag Harbor will open an exhibition of work by three representational painters, Carl Bretzke, Edwina Lucas, and Kevin Sanders, with a reception on Saturday from 6 to 7:30 p.m. The show will run through May 15.

Mr. Bretzke, who lives in Minneapolis, specializes in urban scenes and landscapes inhabited by buildings, trucks, boats, and other signs of human habitation. A Sag Harbor resident, Ms. Lucas illuminates and invests with gravity such relatively simple subjects as flowers, fish, vegetables, and birds. Mr. Sanders, who works in Florence, Italy, creates moody landscapes, devoid of people and often rendered as daylight fades into night.

Halsey Mckay Here and There

The Halsey Mckay Gallery in East Hampton will present concurrent solo exhibitions by Christoph Robner, a German painter, and Adrianne Rubenstein, who lives and works in New York City, from Saturday through May 8. A reception will take place on Saturday from 6 to 8 p.m.

The gallery will also open “Rongwrong,” a show of work by Aaron Aujla and Adam Marnie, at the Elaine de Kooning house and studio, 55 Alewife Brook Road in East Hampton, with a reception on Sunday from noon to 4 p.m. 

Halsey Mckay is among several local venues to recently expand their reach into Manhattan. An installation of new sculptural photographic works by Colby Bird is on view at the gallery’s space at 56 Henry Street on the Lower East Side through April 29.

Two at RJD Gallery

The RJD Gallery in Sag Harbor will open an exhibition of work by Charlotta Janssen and Phillip Thomas with a reception Saturday from 6 to 8 p.m. The show will continue through May 5.

Both artists use collage elements in mixed-media figurative works that document historical moments of the struggle for racial quality. Ms. Janssen’s work in this show, which she has termed “quilted Americana,” focuses on the bus boycotters of 1956 and the Freedom Riders of the early 1960s.

Mr. Thomas combines the imagery and traditions of the Old Masters to create paintings that make a statement on colonialism and its aftermath, especially in his native Caribbean.

“East End Realists”

“East End Realists,” a show of paintings by nine artists, will open Tuesday at the Southampton Cultural Center’s Levitas Center for the Arts and remain on view through May 23. A reception will be held April 17 from 4 to 6 p.m.

The images include flowers, landscapes, sea, sky, portraits, and interiors by Lucille Berrill Paulsen, David Paulsen, Pam Thomson, Peter Beston, Roxanne Panero, Jane Kirkwood, Aubrey Grainger, Keith Mantell and Ann Lombardo, who organized the exhibition. Twenty-five percent of sales will be donated to support the S.C.C

Dance Fusion at the Southampton Cultural Center will hold an open dance workshop led by Jody Oberfelder, a director, choreographer, and filmmaker, from 3 to 4:45 p.m. on Saturday. A performance by Ms. Oberfelder’s company of “The Brain Piece,” a choreographed union of movement, film, neuroscience, and sound, will follow at 6.

The workshop, for ages 9 and up, will involve improvisation and an exploration of how ideas lead to movement and movement leads to ideas. Participants will construct a vocabulary from intuition and instinct and learn the skills to articulate it. The intention of “The Brain Piece,” according to Ms. Oberfelder, is to allow the audience “to experience dance as a language that goes directly into the brain, like smell.” Her collaborators include three dancers, Eric Siegel, who is a film director, three composers, a neuroscientist, and a pianist. 

Tickets to the performance are $40, $20 for students 21 and under. Participants in the workshop, which costs $35, can attend the performance for free if 21 and under. For adult workshop participants, performance tickets are $20.

“Dry Stone Art in the Landscape: Fleeting Thoughts and Works of Friction,” a talk by Dan Snow, an artist, craftsman, and writer from Vermont, will take place on Sunday at 2 p.m. at the Bridgehampton Community House. Mr. Stone has designed and built hundreds of site-specific dry stone constructions, and his talk will cover every aspect of that enterprise. The cost is $10, free for members of the Horticultural Alliance of the Hamptons.

The Montauk Library will present “Masterworks for Violin and Piano,” a free concert by Katherine Addleman and Stanichka Dimitrova, on Sunday afternoon at 3:30. Ms. Addleman, a pianist, and Ms. Dimitrova, a violinist, will perform Beethoven’s Sonata No. 10 in G major, Op. 96; Paganini’s Sonata No. 12 in E minor, Op. 3; Massenet’s “Meditation,” from the opera “Thais,” and Romanian Folk Dances, Op. 3, by Bartok.

Ms. Addleman performs frequently in the United States and Canada in solo and chamber music recitals and as an accompanist, and has recorded the “Goldberg Variations” and a program of late works by Beethoven. Ms. Dimitrova has won prizes in New York City, at Stony Brook University, and at three competitions in Bulgaria.

The second of the Bridgehampton Chamber Music Festival’s spring concerts will take place on Saturday at 6 p.m. at the Bridgehampton Presbyterian Church. The Miro Quartet, who performed to much acclaim in last year’s spring series, will return with a program featuring Alberto Ginastera’s lively and brightly energetic String Quartet No. 1, Op. 20, and two of Beethoven’s major compositions, String Quartet in F minor, Op. 95, “Serioso,” and String Quartet in C major, Op. 59, No. 3, “Razumovsky.”

Formed in 1995 and based in Austin, Tex., the group includes Daniel Ching, violin; William Fedkenheuer, violin; John Largess, viola, and Joshua Gindele, cello. The quartet takes its name from the Spanish artist whose works draw from the realm of memory and imaginative fantasy. Tickets are $40, $10 for students.

The Bay Street Theater in Sag Harbor will present “Newport Folk Festival: A Retrospective Film Screening” tomorrow at 8 p.m. Murray Lerner, the Academy Award-winning director of “From Mao to Mozart: Isaac Stern in China,” filmed the Newport festival from 1963 to 1966, when it featured such iconic performers as Joan Baez, Bob Dylan, Peter, Paul, and Mary, Mississippi John Hurt, Johnny Cash, and the Staple Singers.

Joe Lauro, a musician, music archivist, and filmmaker, will host the program, for which Mr. Lerner has assembled footage never before seen as well as excerpts from his 1967 film, “Festival,” which was nominated for an Academy Award for best documentary feature. Tickets are $15.

When considering street art, or graffiti, its transience would not be the first thing that comes to mind. Yet the elements are unkind to the type of paint preferred by those who paint al fresco (en plein air, if you like) on concrete, brick, aluminum, or other exterior surfaces. 

Work by a group of photographers, who recorded the recent painting of a roof in the Bronx by the graffiti artists CES and YES2 and made their own interpretation of it in their art, is on view at Bridgehampton’s White Room Gallery, along with original art by the painters.

It has been some time since street artists came in from the cold, both literally and figuratively. Several galleries in New York are devoted to or regularly show street artists, and there have been quite a few shows in East Hampton, at the Eric Firestone Gallery and most recently at Allouche last summer. It might prompt one to question whether this genre’s trendiness is old hat, but the graffiti captured by the photographers Ann Brandeis, Kat O’Neill, and Guy Pierno looks fresh and exuberant.

The site of the painting and photo shoot was provided by Vinny Pacifico, a graffiti collector who owns the building in Hunts Point. He had previously brought graffiti artists to decorate the outdoor space, but a flood ruined the earlier efforts. 

Mr. Pierno said most graffiti art painted outside was very vulnerable to degradation by environmental factors, adding that the images they took in November showed the art at the time of its creation. Since then, many of the colors evident in the photographs have already turned white.

Given that the types of expression and the styles within them are highly codified, there is a timelessness to graffiti art that makes it seem old and new all at once. CES began painting or writing in 1983 on trains and then on walls. He also works on canvas and has been shown internationally. YES2 began painting on walls in 1986, inspired by what he saw on New York City subway trains in the 1970s. He too has shown internationally. Both artists were at the reception for the show on Saturday and painted new work on materials that included surfboards.

CES has a sharp, angular, writing style, whereas YES2’s writing is curvier and plump. YES2’s paintings in the galleryare on metal, a nod to subway skins of yore. CES uses canvas, taking a more traditional route and perhaps attempting to put his genre into the context of traditional art history.

The photographers in the show see themselves as artists as well. Mr. Pierno said the angles he chose and the cropping of his photographs were a result of his wanting “to put my two cents” into the enterprise.

Ms. Brandeis works in visual collage, taking strips, bits, and snippets of imagery from the artists and melding it with other material, including that of her own making. The result can look, as in “NYC,” like a postcard or billboard, or, in “The Beginning,” like a trippy black-light poster. 

Ms. O’Neill goes one step further, layering image after image into a melange that she places on metal in various shapes and sizes. Both Mr. Pierno and Ms. O’Neill like to adopt a kind of panoramic long shape for their compositions, which echo the shape of trains.

It’s a colorful and graphic show overall, and should be fun for children. It remains on view through April 24.

The Hamptons Take 2 Documentary Film Festival will begin accepting submissions tomorrow for the 2016 festival, which will take place at Sag Harbor’s Bay Street Theater from Dec. 1 through Dec. 4. Applications can be found online at withoutabox.com, filmfreeway.com, and the festival’s website.