The John Drew Theater Lab will present “Andromeda,” a free performance of a work-in-progress by Kate Mueth and the Neo-Political Cowgirls, on Tuesday at 7:30 p.m. 

In the Greek myth, Andromeda was a beautiful princess whose mother’s pride led Poseidon to send a sea monster to destroy the Queen’s kingdom. Her parents chained Andromeda to a rock as a sacrifice to the monster, but Perseus saved her.

Ms. Mueth and the Cowgirls, a women’s dance-theater company she founded, engage the ancient myth, focusing on Andromeda’s thoughts as she is left for dead, and deconstruct it for examination from a modern viewpoint.

“The Preppie Connection,” a film conceived and directed by Joseph Castelo, a part-time Montauk resident, and based on true events, will open tomorrow in limited release and will also be available through video on demand by IFC Films.

Screened at the 2015 Hamptons International Film Festival, it was picked up for distribution in December. The film tells the story of a scholarship student who attends an elite private school. In the struggle to fit in, he finds that scoring drugs for the popular kids is the easy way to social success. The discovery is not without its consequences, however. Dylan Blue, who grew up in Water Mill, is part of the supporting cast. 

“The Safety of Objects,” A.M. Homes’s 1990 story collection, arrived like an open-handed smack to the bourgeois reader’s face. 

Glasses retrieved, we could see it was beyond fresh, beyond “the way we live now,” or then, as it were; it was subversive (a kidnapped kid’s so annoying the kidnapper returns him), even transgressive (sex with a Barbie doll and then the more fulfilling Ken), all perhaps culturally epitomized by the professional Westchester County couple who take up crack while their children are away. It was her first collection. An announcement of a new voice in American letters.

It is also of critical importance because it happens to be the one book of hers to have been read by her interlocutor in a half-hour phone call one gray Thursday in February, a chat occasioned by Ms. Homes’s selection for a lifetime achievement award in the literary arts from the Guild Hall Academy of the Arts. The ceremony is set for Tuesday night from 6 to 10 in the Rainbow Room in Manhattan, where her fellow honorees will be Sarah Jessica Parker in performing arts, Mary Heilmann in visual arts, and Charlotte Moss and Barry S. Friedberg for leadership and philanthropic endeavors. 

“Eric said to me it’s long overdue,” she said of Eric Fischl, the artist and academy president, who will be doing some of the presenting that evening. “And I said, ‘No, it’s not.’ I feel way too young for that kind of thing.” She’s 54, her demurral upon being asked giving way to a verbal shrug of the shoulders in the face of the ubiquitous Google search. “Anyway, these age rules don’t apply anymore. Except maybe to your knees.”

Adding to the overdue feeling may be the fact that she’s been writing in the public eye since she was a college student and came out with a play controversially involving the work of J.D. Salinger, prompting a cease-and-desist order. She went on to turn out a half-dozen novels, most recently “May We Be Forgiven” (a Big American Novel she’d recommend to the uninitiated), two short-story collections, and a memoir, before returning to Salinger with a book of essays to be titled “These Are My Fathers,” which looks as well at other writers important to her: Edward Albee, Joseph Heller, and especially John Cheever.

The Montauk and East Hampton lives of Albee and Heller bring up something else about “The Safety of Objects”: It was written in Amagansett. Ms. Homes has been coming out this way since the mid-’80s, owns what she called “a tiny house” here, and particularly enjoys holing up, in a writerly way, in the local libraries from Montauk west, with their nooks, crannies, and carrels. The former Rogers Memorial on Job’s Lane in Southampton was a favorite: “Lots of big old wood desks surrounded by books — what’s better than that?”

A sanctuary. The entire South Fork can serve as such. As a city dweller, Ms. Homes was an outside-her-window witness to the defining event of the new century, the attacks of 9/11, which left her feeling as though “the terra firma you took for granted you could no longer take for granted. . . . Now there’s a ratcheting up of a sense that the world is not safe. On the East End, comparatively speaking, it is safe. It’s hard to go out to Louse Point and think the world is coming to an end.”

“I see the Guild Hall award as an essential piece of a place and a time that I value enormously.”

“As a kid,” she continued, “I was not a good kid. But I’ve become this overly enthusiastic do-gooder. It’s like I go out looking for old ladies to help across the street. It’s annoying, I’d imagine.”

She teaches at Princeton and, far from complaining about undergraduates, is energized by all the students “who are the first person in their family to go to college.” Generally, “I try to encourage a kind of creativity and intellectual risk-taking that they’re averse to. They’re more test-takers — they’re smart, but they haven’t lived much yet.”

Of her own education, she said, “I feel like I’ve been very lucky. I’ve had wonderful mentors who helped me when I needed it.”

That could be part of an acceptance speech, but she wasn’t quite sure of Tuesday night’s format, or if she’d be speaking at all. “Maybe I’ll read a Frank O’Hara poem.”

Canio’s Cultural Cafe will host a screening of the Academy Award-winning film “Spotlight” at the Hampton Library in Bridgehampton tonight at 6:15. The film will be followed by a discussion with Bob Keeler, a Pulitzer Prize-winning journalist, and Richard Lawless, a theologian. 

Canio’s Books in Sag Harbor will hold two book discussion groups in March. The first will meet on Friday, March 11, at 4:30 p.m., to discuss “Ahab’s Wife” by Sena Jeter Naslund, a book about the imagined life of the wife of the protagonist of “Moby-Dick.” The second event will be held on March 13 at 3 p.m. and will feature a discussion about the National Book Award-winning memoir “Between the World and Me” by Ta-Nehisi Coates. All events are free and open to the public. 

The Choral Society of the Hamptons will welcome spring with two popular choral classics, on March 20 at 5 p.m. at the East Hampton Presbyterian Church. The program will feature Bach’s Cantata No. 4, “Christ Lay in Death’s Bonds,” and Fauré’s Requiem.

Led by Mark Mangini, the society’s music director, the group will be joined by three soloists, Nita Baxani, soprano, Dominic Inferrera, baritone, and Enrico Lagasca, bass, and by instrumentalists from the South Fork Chamber Ensemble.

J.S. Bach’s Resurrection Cantata, “Christ Lay in Death’s Bonds,” was composed in 1707, when Bach was 21. One of his earliest church cantatas and his first for Easter, it was based on the seven stanzas of Martin Luther’s 1524 hymn of the same name. Its tune was derived from medieval models. John Eliot Gardiner, a noted English conductor, called the work “a bold, innovative piece of musical drama” and Bach’s “first-known attempt at painting narrative in music.”

Gabriel Fauré’s Requiem in D minor, Op. 48, was an evolving work that he continued to revise between 1887 and 1900. The choral-orchestral setting of the shortened Catholic Mass for the Dead in Latin, it is the best known of his large works. Fauré wrote of the work, “Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest.”

Ms. Baxani has performed a wide range of art songs, oratorio, opera, and musical theater in the United States and Europe. Her operatic roles include world premieres at LaMama ETC in New York City, and she has performed as a soloist at the Kennedy Center and with the Atlantic Symphony Pops Orchestra. She has also appeared in national tours of “Bombay Dreams” and “The King and I.”

A frequent Choral Society soloist, Mr. Inferrera has performed in opera, concert, pops, and jazz settings, including “The Curious Case of Benjamin Button” at Manhattan’s Symphony Space, “The Celebrant” in Bernstein’s Mass, and in opera roles around the country. His concert repertoire includes Fauré’s Requiem, Brahms’s “A German Requiem,” and Handel’s “Messiah.”

Like Mr. Inferrera, Mr. Lagasca appeared last summer with the Choral Society in Haydn’s “The Creation.” He sings opera, oratorio, chamber music, and in recitals, with a repertoire including works from the Renaissance to the 21st century. He has performed as soloist and chorister with the American Symphony Orchestra, the New York Philharmonic, and the Atlanta Symphony.

Mr. Mangini is one of New York City’s most active choral conductors and a founder and music director of the Greenwich Village Chamber Singers. His repertoire ranges from the pre-Bach era with historical instruments, through numerous commissions of contemporary works. In 2007 he led a joint performance of the Choral Society and the Greenwich Village Chamber Singers of Lukas Foss’s “The Prairie” at Lincoln Center.

Tickets to the spring concert are $30 in advance, $35 at the door, with preferred seating priced at $75. Youth tickets are $10 in advance, $15 at the door. Tickets and information are available on the society’s website.

A benefit cocktail reception for the conductor and soloists will be held at the Palm restaurant in East Hampton immediately after the concert. Reservations at $100 per person are available at the society’s website until next Thursday.

Looking ahead, the society will conclude its 70th anniversary year with the world premiere of a major work it has commissioned from Victoria Bond, a noted composer, which stresses the human dimensions of the biblical story of Moses. Beethoven’s Mass in C will also be performed.

An auditioned chorus with a professional music director, soloists, orchestra, and accompanist, the Choral Society of the Hamptons has been presenting choral music on the East End since Charlotte Rogers Smith, a local choir director, founded it in 1946.

Tonic Rising

“Rising,” an exhibition of works by members of the Bonac Tonic art collective, will be on view Saturday and Sunday at Ashawagh Hall in Springs, with an opening reception set for Saturday from 6 to 9 p.m.

A loose and mutable group, the collective was conceived in 2005 in the belief that “art should be for everyone,” according to its website. “Bonac Tonic originated as a nickname given to the iconic green boxed iced tea, originally produced by Schwenk’s and now made by Hampton Dairy.”

The exhibition will include works by Alexander McCue, Christine Lidrbauch, Carly Haffner, Darlene Charneco, Erick Osbaldo Segura, Grant Haffner, Hailey London, Justin Smith, Oliver Peterson, Rossa Cole, Sabra Moon Elliot, Scott Bluedorn, and Scott Gibbons.

“Parrish Perspectives” is an ongoing series of concentrated exhibitions organized by the Parrish Art Museum in Water Mill to focus on the creative process of individual artists. Three distinct shows, “Connie Fox: Self As . . .,” “Brian Gaman: Vanishing Point,” and “Lindsay Morris: You Are You,” will open on Sunday and remain on view through April 24.

In 2007, Ms. Fox, who lives in East Hampton, set up a mirror and bookstand in her studio and began a series of drawings inspired by self-portraits by Max Beckmann, the German artist, and Colette, the French writer. According to Ms. Fox, hers “are not self-portraits, more visualizations of an idea.”

“I also looked in a mirror,” she said. “However, any personal resemblance is subtle and varied: small details, a look, an attitude, metaphor.”

The drawings are a departure from her six decades as an abstract painter. The show will include 22 drawings. Those inspired by Beckmann are rendered in a stark expressionistic style, while the Colette works are more impressionistic in feel.

After earning an M.F.A. from Yale, Brian Gaman moved to New York City in the mid-1970s and began a personal exploration of the nature and process of perception, which he has continued throughout his career. The exhibition surveys his signature series: cast-iron, steel, and aluminum sculptures that call to mind industrial castoffs and mysterious machines, and enigmatic, large-scale digital works on paper, scanned from old video works and drawings and enlarged. They are meant to be, in his words, “fragmentary, still, and global.”

Before his untimely death in 2014, Mr. Gaman lived in New York City and Springs, where he designed and built a Modernist house over a period of nine years. The exhibition, organized by Terrie Sultan, the museum’s director, is accompanied by a 33-page illustrated catalog.

Lindsay Morris began documenting a weekend summer camp for gender-creative children and their families in 2007. The project resulted in a 2012 cover story for The New York Times Magazine and, three years later, the publication of “You Are You.” The Parrish exhibition, organized by Alicia Longwell, the museum’s chief curator, will include 35 images from that body of work.

Ms. Morris, who lives in Sag Harbor, studied photography and printmaking at the School of the Art Institute of Chicago and the University of Michigan School of Art before detouring, with her husband, Stephen Munshin, into a 13-year career as a clothing designer. She returned to photography in 2005 and has been, since 2006, a freelance photographer and photo editor of Edible East End and Edible Long Island magazines.

Public programs related to the exhibition will include a conversation between Ms. Fox and Ms. Longwell on March 19, a gallery tour and talk by Janet Goleas on Mr. Gaman’s work on March 26, and a screening of excerpts from a documentary film based on “You Are You” and a discussion between Nick Sweeney, the film’s director, and Ms. Morris, its producer.

“Long Island Grown III: Food and Beverage Artisans at Work,” a four-lecture series organized by the Peconic Land Trust at Bridge Gardens in Bridgehampton, will open on Sunday at 2 p.m. with “The Cocktail Party,” a discussion featuring Vaughan Cutillo of the Montauk Brewing Company, Michael Kontokosta of Kontokosta Vineyard, and Noah Schwartz, executive chef of Noah’s in Greenport.

Subsequent topics will be “The Appetizer” on March 20, “The Entree” on April 3, and “The Dessert” on April 17. Tickets to individual talks are $25, $20 for members. Those who purchase the full series for $90, $70 for members, will receive a one-year subscription to an Edible magazine (East End, Long Island, Brooklyn, or Manhattan). Seating is limited, and preregistration is required by emailing [email protected].

East Hampton’s LongHouse Reserve will open its jubilee year with Design for Living, a winter benefit to be held at National Sawdust in Williamsburg, Brooklyn, on March 15. 

The evening will begin at 6:30 with a cocktail reception, which will be followed by a discussion between Hugh Hardy, a noted architect whose projects include the Tow Theater at Lincoln Center, the Brooklyn Academy of Music, and the restoration of Radio City Music Hall, and Peter Zuspan, founding principal of Bureau V, the firm that redesigned the National Sawdust Building. Mr. Hardy will receive the LongHouse Award from Jack Lenor Larsen, the acclaimed textile designer and founder of LongHouse.

At 7:30, Nona Hendryx, one of the founding members of Patti LeBelle and the Bluebelles, will perform. Dinner will follow the performance at 8:30. Tickets for the reception and performance are $150, $100 for LongHouse contemporaries, or $600 and up for the reception, performance, and dinner.

After almost a year of planning, Guild Hall has selected the first participants in its Artist in Residence program, who will be ensconced in Guild House, around the corner from the cultural center on Dunemere Lane, through April 30. At a reception on Saturday, Ruth Appelhof, executive director of Guild Hall, together with the organization’s staff and members of the local arts community, will welcome Jennifer Hsu and James Wang, a multidisciplinary collaborative duo; Arcmanoro Niles, a painter, Iris Smyles, a writer, and Tom Yuill, a poet. 

For the program’s first iteration, artists were nominated and selected by members of Guild Hall’s Academy of the Arts. Marianna Levine, who is the program’s administrator, said academy members would assume the nominating role for two years, after which a decision will be made on whether to switch to an application process.

Artist residents are required to spend four days a week in East Hampton. Most will stay longer, but some have day jobs that might necessitate brief absences. Each artist has his or her own room; Ms. Hsu and Mr. Wang, a couple in life and art, will share a bedroom. Two outside studios will accommodate the visual artists, while the writers will work in the house or, if they prefer, at the East Hampton Library.

“Ruth Appelhof and Eric Fischl have really been the champions of this program,” said Ms. Levine. “It hasn’t been the easiest project to push through because of financial considerations and staff limitations, but Ruth and Eric put a lot of thought into this.” One concern was that rising property values have made it difficult for young artists to live and work here.

“Eric has been very concerned that we keep the artistic community vibrant by bringing in younger artists,” said Ms. Levine. While Guild House has a full kitchen where residents can prepare their own meals, 1770 House has donated one dinner a week in its main dining room for all the artists for the duration of their residence, and breakfast every Saturday. Rowdy Hall will also provide a dinner and drinks one night each week. 

Ms. Hsu and Mr. Wang work in video, photography, film, digital and analog painting, text, and installation. The artists, who live in Brooklyn, “believe in increasing empathy and subsequent social change . . . between artists and viewers, between writers and readers, between teachers and students, between resistance and social groups, between rich and poor, and between humans and non-humans, including flora,” according to their website.

Born in Washington, D.C., Mr. Niles, a figurative painter, has expressed his interest in being representational but inviting deeper analysis. “I see figurative painting as complex narratives embedded with many different meanings,” he has said. “I’m interested in contradictions and opposites.” In a recent series titled “Life Was A Party To Be Thrown,” he explores what it means to control and maintain power over the body.

Iris Smyles’s stories and essays have appeared in The Atlantic, The New York Times, The New York Observer, BOMB, and other publications. She has written two books of fiction: “Iris Has Free Time,” and “Dating Tips for the Unemployed.” She lives in New York and Greece. “Iris Has Free Time,” Kurt Andersen wrote, is “the perfect frenzied bildungsroman for an era when coming-of-age can be postponed practically to middle age, as funny and sharp as can be but unafraid of seriousness and consequence.”

Tom Yuill, who teaches literature at Old Dominion University in Virginia, is the author of “Medicine Show,” a book of poetry published by the University of Chicago Press. The book mixes plain, down-home speech with free translations of Catullus, Villon, Orpheus, and other figures of high culture who are, according to the publisher, “placed alongside Jagger and Richards, skinheads, and psalms . . . high culture meets pop, city meets small town, and provincialism confronts urbanity.”

A free public program will take place on April 17, during which the artists will present their work and participate in a question-and-answer session with the audience.