Ira Berkow and Bill Madden have spent the last four years perfecting a play about the late George Steinbrenner, the owner of the New York Yankees baseball team who often seemed larger than life.

A staged reading of the play “Steinbrenner,” which is based on the 2010 book “Steinbrenner: The Last Lion of Baseball” by Mr. Madden, is set for Sunday at Guild Hall in East Hampton Village. Richard Kind, of “Gotham” and “Spin City” fame, will star as Mr. Steinbrenner after having read the part twice during productions at New York City’s Roundabout Theatre. Zach Grenier (“The Good Wife,” “Fight Club”), Catherine Curtin (“Orange Is the New Black”), Duane McLaughlin (“As the World Turns”), Marc Coffin, and Danny Fischer will also read in the show.

For years, Mr. Berkow and Mr. Madden had been friendly competitors as writers for The New York Times and The Daily News, respectively. Mr. Berkow congratulated Mr. Madden for a job well done on his book about Mr. Steinbrenner and suggested it might make a fantastic drama, at which point Mr. Madden suggested they work together.

“We combined our knowledge, which covers more than 50 years,” Mr. Berkow said the other day. “We wanted to tell a good, dramatic, compelling, entertaining story with humor, with pathos, and with insight. It’s the evolution of, essentially, an American icon.”

Mr. Steinbrenner bought the Yankees for $10 million in 1973 and embarked on what some have described as a “monomaniacal” quest to raise the once-great team back up to its former glory. His tactics were often controversial, but they paid off. The Yankees won seven world series under his watch and today are worth more than $1 billion.

The reading at Guild Hall is not merely a chance for the two writers to engage an audience in an experience: It also represents a turning point for the play itself. Mr. Berkow, who has won a Pulitzer Prize and also wrote the acclaimed documentary “Jews and Baseball: An American Love Story,” said the performance on Sunday would be the first for which tickets would be sold rather than given away for free, as was done for the two readings at the Roundabout Theatre.

“It’s really going to be exciting in Guild Hall,” Mr. Berkow said. “Richard Kind is nothing short of sensational. . . . He makes Steinbrenner come alive with all the passion, all the fury, all the humor, all the complexities. Steinbrenner was a very complex man, and that was one of the challenges, to get this complexity.”

The show is scheduled for 8 p.m. Tickets range from $28 to $50 and are available by calling 324-0806, at the box office at Guild Hall, or online at GuildHall.org and theatermania.com.

“All is well here in New York City,” Garland Jeffreys reported by telephone on a recent morning. Mr. Jeffreys, a Brooklyn native who could fairly be called the quintessential New York City musician — more so perhaps than even Lou Reed or the Ramones — was busy working up songs for a new release, the next in what has become one of the most prolific periods of a nearly five-decade career.

Coinciding with an upcoming family vacation in Springs, Mr. Jeffreys will soon return to the Stephen Talkhouse in Amagansett, taking the stage Thursday at 8 p.m. It will be another stop on what is effectively a world tour in support of 2013’s “Truth Serum,” a strong collection of the multiracial, multidimensional artist’s unique alchemy of rock ’n’ roll, blues, reggae, and soul, and its immediate predecessor, 2011’s “The King of In Between.”

The artist’s creative renaissance followed a 14-year span between releases, a result in large part of the birth of his daughter. “She’s now 19,” he said. “She’s got it going on — very smart, intelligent, perceptive, all the ingredients you’d want in your child. But what’s really exciting in my life, apart from family, is performing, performing, and performing.”

That pursuit has recently taken him to multiple festival dates in Canada, and to the United Kingdom, where Led Zeppelin’s legendary guitarist and producer Jimmy Page attended a concert (“He was quite friendly, warm, a sweetheart of a guy,” Mr. Jeffreys recalled). Upcoming dates are scheduled in Japan and Australia. “I’m thrilled about making this new album, and then I’m going to get back to touring,” he said. “I get tremendous pleasure and joy from performing. I have a really great Canadian audience. People love to hear live music. They come out for me, and I’m looking forward to going back in December.”

In “Truth Serum,” Mr. Jeffreys continues an exploration of race relations, and racial divisions, in songs like “Colorblind Love” and “Any Rain” (“I was thinkin’ about the human race/And wishin’ we could reconcile/Live and let live is it too much to ask”). Race, he said, “has always been a subject that I have been moved to embrace and learn about. My own racial complexity, coupled with my interest in the world of people, makes me very concerned with how people of color are getting on.”

Mr. Jeffreys referred to the “bizarre incident” in Charleston, S.C., that had so recently shocked the nation. “It was like from an ancient period,” he said of the murder of nine people in an African-American church in Charleston. “But it tells you it’s right around the corner.” He also recalled that he was in Ferguson, Mo., for a gig on the day that a young African-American man was shot and killed by a white police officer, sparking prolonged unrest.

Fortunately, he said, “There is a strong spirit in the air for people who are really, really conscious in modern times about race. They see the horror, the ugliness of it. It may not seem like there are a lot of supporters at this time, but there are.”

Sonically, Mr. Jeffreys remains true to his prior recordings and those of contemporaries like the late Mr. Reed, who contributed vocals to a track on “The King of In Between.” “I love to lay the vocal track down while the track is being put down,” he said, describing a spontaneous, organic process rare in modern music production. “I find that the most exciting way to get a rendition: the band is playing, they’ve learned the song, and now it’s time for a take. Often for me, it’s the first or second take — ‘Truth Serum’ and ‘King of In Between’ were all one and two-take performances.”

 “To me,” he said, “that’s what it’s about, the spirit and the energy, the excitement of that first go. On occasion, you find a glitch, but you keep it because the overall take is brilliant.”

Tickets for Garland Jeffreys at the Stephen Talkhouse are $25 and $40.

New From Bryan Hunt

“Flyby,” an exhibition of new works by Bryan Hunt, will open tomorrow at the Drawing Room in East Hampton and run through Sept. 6. The new works, which focus on space exploration, astronomy, and celestial bodies, consist of large and small paintings, wall reliefs, and ceramic sculptures, all of which reflect the artist’s lifelong interest in matters galactic.

Throughout his four-decade career, in his “Airships,” “Waterfalls,” “Lakes,” and “Monuments” series, Mr. Hunt’s sculpture has addressed the physical elements of earth, wind, water, and our interaction with them through advances in industry, scholarship, and technology. He lives and works in Wainscott.

Hinting at the Zeitgeist

The Eric Firestone Gallery in East Hampton will open “All Killer No Filler,” a group exhibition of work by 11 artists, both emerging and established, with a reception Saturday from 6 to 9 p.m. The show, which will remain on view through Sept. 6, will include a variety of artistic practices, mediums, and narratives.

Participating artists — who “hint at the zeitgeist of our time,” according to the gallery — are Shoplifter/Hrafnhildur Arnardóttir, Derrick Adams, Rosson Crow, Sylvie Fleury, Rico Gatson, Michelle Grabner, Carlos Rolon/Dzine, Miriam Schapiro, Tony Tasset, Nari Ward, and Wendy White.

Confections at Nightingale

“True Confections,” an exhibition of work by Monica Banks and Christa Maiwald, will open today with a reception from 6 to 8 p.m. and remain up through Sept. 3.

Ms. Banks’s miniature porcelain figures, including people, bees, mice, birds, and teacups, depict organic forms on the threshold between life and death, or figures who are suffering. She will also exhibit porcelain cakes and cake stands-as-pedestals.

Ms. Maiwald will present works from her “Landscape Cakes” series, for which she bakes elaborate cakes that are inspired by specific land and seascapes and then photographed in nature. Slices of cake will be given to visitors. She will also show work from her hand-embroidered “Cats” series.

Yektai at Tripoli Southampton

The Tripoli Gallery in Southampton will open “Touch Thoughts,” a solo show of new work by Darius Yektai, with a reception today from 6 to 8 p.m. The exhibition will be on view through Aug. 24.

For Mr. Yektai, who lives in Sag Harbor, each touch — a brushstroke of thick paint or a groove carved into wood — is an expression of a thought that can be premeditated or spontaneous. He not only works in different mediums but also combines them in ways that blur the boundaries between painting and sculpture. His use of materials such as oil, concrete, wood, and resin is gestural and expressive.

Art at Whaling Museum

The Sag Harbor Whaling Museum will present “East End Artists: Then and Now,” an exhibition organized by Peter Marcelle, from tomorrow through Aug. 23. The opening reception will happen tomorrow from 6 to 8 p.m.

The show includes both contemporary artists and their East End predecessors, among them Linda Alpern, Peter Beard, Miriam Dougenis, Robert Gwathmey, Tracy Harris, Jimmy Ernst, Anna Jurinich, Roy Lichtenstein, Alfonso Ossorio, Louise Peabody, and Frank Wimberley. Proceeds from sales will benefit the museum’s ongoing capital campaign.

Amagansett Artists

The Amagansett Historical Association will also open an exhibition of art created by past and present residents, tomorrow at the Jackson Carriage House off Windmill Lane. An opening reception for “Amagansett Art: Across the Years” will take place tomorrow from 5 to 7 p.m.

The show, which aims to highlight the role of Amagansett in the East End art colony and to raise money for the maintenance of the association’s historical site, will include work by Nicole Bigar, Ralph Carpentier, Lucy Cookson, Kate Davis, Elliott Erwitt, Robert Harms, Janet Jennings, Vincent Longo, Pamela Morgan, Claire Nivola, and Michelle Stuart.

New at Mark Humphrey

The Mark Humphrey Gallery in Southampton will present “Covalence,” an exhibition of work by Alex Nero and Parker Calvert, from tomorrow through Aug. 20, with a reception set for Saturday from 5 to 8 p.m.

Mr. Nero’s recent work focuses on the chemistry and physical dynamics of paint within vessels of water, the striking and otherworldly results of which are captured by digital photography.

Mr. Calvert’s archival C-prints reflect his lifelong interest in photographic processes and their ability to capture light and energy in motion and transform them into abstract images of kinetic beauty.

“Nature’s End” in Sag

“Nature’s End,” an exhibition featuring three artists with different approaches to the natural world, will open Saturday at Dodds and Eder Home in Sag Harbor and remain on view through Sept. 22. A reception will be held Saturday from 5 to 8 p.m.

Gary Bartoloni uses infrared film to create images with a tonal range that makes auras around its subjects. James Johansen is also interested in the atmosphere of light, which he captures in his oil paintings of waves and seascapes. From various images taken outdoors, James Slezak creates collages in Photoshop that reflect his training as a graphic artist.

Ben Fenske at Grenning

The Grenning Gallery in Sag Harbor will present a solo show of paintings by Ben Fenske from Saturday through Aug. 23, with a reception set for Saturday from 6:30 to 8 p.m.

Mr. Fenske creates landscapes, portraits, interiors, and still lifes whose realism is tempered by his striking use of hot colors and his expressionistic, gestural handling of paint.

Meet Joseph Eschenberg

Next up in the “Meet the Artist” series as GeekHampton in Sag Harbor is Joseph Eschenberg, whose work will be on view at the Apple specialist store through Aug. 29. A reception and presentation by the artist will be held Friday, Aug. 14, from 6 to 8 p.m.

The series of exhibitions focuses on artists who use technology in some aspect of their work. Mr. Eschenberg’s digital photographs and mixed-media works use bright colors to lend a Pop aspect to his images of East End scenery.

Visionary Project at Borghi

The Mark Borghi Gallery in Bridgehampton will host the Visionary Art Project, a collaboration between Mia Morgan, a stylist, and Georgina Billington, a makeup-body paint artist, from today through next Thursday, with a reception happening this evening from 6 to 8.

Working with Lindsay Adler, a photographer, Ms. Morgan and Ms. Billington have created images that “expand human consciousness through visionary art inspired by shamanism, sacred geometry, fashion, and beauty,” according to the project’s website.

The more than 30 works assembled for “Roy Lichtenstein: Between Sea and Sky,” which will open Sunday at Guild Hall and remain on view through Oct. 12, provide a master class in the artist’s use of an encyclopedic range of materials and processes, many of them industrial, to revive the landscape genre, expand its possibilities, and mine its art historical antecedents.

By 1964, Lichtenstein’s Pop style had evolved into the polished appearance that, in the artist’s words, “hide the record of my hand.” That same year he created his first cartoon-style land and seascapes and exhibited them at the Leo Castelli Gallery in Manhattan.

While some of the early landscapes used oil and Magna on canvas, several, including “Seashore” (1964), were done on Plexiglas by drawing the image on the adhesive protective backing, then using a razor blade to cut and peel away the outlines before repainting over them in black. Dotted areas were removed and repainted next, followed by the colored forms.

He also discovered Rowlux, a polycarbonate sheet consisting of microscopic spherical lenses that created oscillating three-dimensional patterns. Combined with other plastics, such as Mylar, he “perfectly channeled America’s enthrallment with the space age and fit squarely in with the rest of the Pop/Op aesthetic sweeping the country,” according to a catalog essay by Clare Bell of the Roy Lichtenstein Foundation, which collaborated with Guild Hall on the exhibition.

Over the next three decades, Lichtenstein’s landscapes were realized in porcelain enamel on steel, felt, lithography, ink drawing, a film installation, and a billboard, to name just a few. He attached motors to some of the early seascapes to generate the rocking motions of waves, and incorporated lightºbulbs and gels to simulate the change from day to night.

The land and seascapes utilize his signature motifs as well, including the Benday dots familiar from newspapers and comic books and, in the 1980s, a series in which entire seascapes were composed of Pop brushstrokes, which had stood alone as the subject of some of his early works.

Throughout his career, Lichtenstein drew on the entire corpus of art history. For example, in a series from the 1990s called “Landscapes in the Chinese Style,” he used gradations of Benday dots, without any outlines, to recreate the gentle atmosphere of mountains, treetops, and fog in works appropriated from the Song dynasty. Another series, also from the 1990s, brought the Benday dots, sharp diagonals, bright colors, and irregularly shaped, flat areas of solid color to bear on Monet’s “Water Lilies.”

According to Ms. Bell, “In 1970, Lichtenstein left New York City for Southampton, New York. By then, plastics played a more minor role in his production, but his land and seascapes remained an integral part of his explorations into the nature of illusionism, abstraction, serialization, stylization, and appropriation until his death in 1997.”

Thomas Crow, professor of modern art at the Institute of Fine Arts, New York University, will deliver a free keynote lecture on Lichtenstein on Saturday from 3 to 4 p.m., after which an opening reception will be held. Other public programs will include a gallery talk by Clare Bell on Aug. 30 and two panel discussions.

The Lichtenstein exhibition is the centerpiece of Guild Hall’s summer benefit, which will begin tomorrow with a preview and cocktails from 5 to 7 p.m. and be followed by drinks, dinner, dancing, and a live art auction at a private home in East Hampton. Tickets are $500 for the preview and cocktails, $1,200 and up for the entire event. Reduced prices are available for patrons 21 to 40 years old.

Rhonda Denet and the Silver Fox Trio will appear at the Montauk Library in “A Tribute to Frank Sinatra” on Wednesday at 7:30 p.m. Ms. Denet, a soloist based in New York City, will perform an extensive repertoire of jazz and blues favorites that reflect Sinatra’s frequent appearances with Ella Fitzgerald. The free concert also honors the upcoming centennial of Ol’ Blue Eyes’ birth.

The Neo-Political Cowgirls, a dance theater group based in East Hampton and led by Kate Mueth, an actor and director, will perform “Voyeur,” which premiered in Springs last summer, at the gallery Art Von Frei in Berlin from next Thursday through Aug. 2. The six performers in the group’s European debut come from Berlin, New York, and Helsinki.

The company is “dedicated to creating innovative dance theatre that explores the female voice,” according to its website. 

The second film in the Hamptons International Film Festival’s SummerDocs series, “Listen to Me Marlon,” has no talking heads, no interviewees, no narrator. With the exception of a few television news clips, the voice on the soundtrack is Marlon Brando’s, and it affords access to the actor’s multidimensionality seldom available even to his friends.

John Battsek, a producer at Passion Pictures in London, was approached by the Brando estate, which was interested in supporting a documentary to mark the 10th anniversary of the actor’s death. Mr. Battsek invited Stevan Riley, an English filmmaker with four documentaries to his credit, to undertake the project.

“We knew the estate would approve the documentary and give us access to the archive,” said Mr. Riley, who wrote, edited, and directed the film. “But it wasn’t yet determined what was in the archive and how much there was. It turned out there were reams and reams of documents, some home movies, and there were these tapes.” “These tapes” were approximately 300 hours of audiotapes made by Brando that nobody, not even managers of the estate, had heard.

“I was given a selection that had been digitized, seven or eight tapes, and I was lucky they happened to be really interesting. They included a self-hypnosis tape, and I started trying to figure out an approach and thought how bold it would be if we could tell something entirely in Marlon’s own words.”

Initially, Mr. Riley wasn’t sure his idea would work. He came to the United States from London to interview as many people involved in Brando’s life as were available to him — his family, work colleagues, friends, and personal assistants. “The further I got into speaking with these people, the more I was inclined to stick with my original plan, doing it all in Marlon’s voice, because he kept his life so compartmentalized that there was no one who could give the whole picture. I thought, who better to give that full picture than Brando?”

As more and more tapes were coming out and being transcribed, Mr. Riley realized his idea for the film was doable.

Brando’s ruminations, recorded in the solitude of his home on Mulholland Drive in Los Angeles, range from reflections on his childhood, particularly his troubled relationship with his father, to the many phases of his acting career, his eventual aversion to fame, his political involvement with the civil rights movement and Native American activists, his relationship to his children, and his growing seclusion. Personal photographs, clips from home movies, and archival news footage, like the audio recordings, move back and forth in time, creating an increasingly layered impression of the inner and outer man.

The self-hypnosis tapes are especially moving, and one, from 1996, gave rise to the film’s title.

“Listen to Me, Marlon. . . . This is one part of yourself speaking to another part of yourself. Listen to the sound of my voice and trust me. You know I have your interests at heart. . . .”

Brando’s sense of humor is as present as his insightfulness. In one segment, perhaps from a home movie, he makes a series of funny faces that are almost impossible to reconcile with Brando the icon. Elsewhere he says, “If I hadn’t been an actor, I’d have been a con man.” He discusses how during the 1930s and 1940s “you knew what you were getting from the actor — the same thing each time. Stella [Adler] changed all that.” Though seldom satisfied with his work, his aim was “to make it as real as you can, to find the truth of that moment. When it’s right you feel it in your bones.”

Regarding the self-hypnosis tapes, Mr. Riley said, “I wasvery aware of how private he was, and I wanted to protect that in some regard. The way to do that was to make sure I was as well informed as I could be so that I could portray him in as honest a way as possible. He thought he had been misrepresented so often that I thought the tapes offered a way he could explain himself that he had never been allowed as a public figure.”

Brando had his face digitized in the 1980s by Scott Billups, a digital filmmaker who, years later, tracked down the original files. Working with Mr. Riley, Mr. Billups and his team used the files to create an animated 3-D version of the actor’s face, which appears as an overlay in shots of the interior of Brando’s home.

“I always wanted to put those images in the house as a ghostly presence, as if he was giving a postmortem of his life from beyond the grave.” They do indeed leave the impression of Brando hovering over the entire enterprise, keeping his eye on the filmmaker and his audience.

A discussion between Alec Baldwin, and Mr. Riley will follow the screening Aug. 1 at 8 p.m. at Guild Hall. The film will have its theatrical release on Wednesday, at Film Forum in Manhattan, and on Friday, July 31,  at the Landmark in Los Angeles, before rolling out nationwide throughout the summer and fall.

In January 1995, 172 films were screened at the Sundance Film Festival. “The Brothers McMullan,” a $25,000 film produced, written, directed by, and starring Edward Burns, won the Grand Jury Prize. Mr. Burns went virtually overnight from being a 27-year-old aspiring filmmaker to a hot young director, whose made-on-a-shoestring first film went on to gross more than $10 million.

It’s fitting that his book, “Independent Ed: Inside a Career of Big Dreams, Little Movies, and the Twelve Best Days of My Life,” was published almost 20 years to the day after his triumph in Park City, Utah. However, there will be more to celebrate during this anniversary year. On Aug. 25, TNT will premiere “Public Morals,” a new series he created, wrote, directed, and stars in. 

Mr. Burns was born in Queens and raised in Valley Stream in an Irish-American family. His father, Edward J. Burns, was a sergeant in the New York Police Department and, eventually, its media spokesman; his mother, Molly, worked for the Federal Aviation Administration. Family and Irish-American life in and around New York City have figured prominently in many of their son’s films.

“The Brothers McMullen,” the story of three Irish Catholic brothers from Long Island and their troubles with women, was filmed on the streets of New York and in and around his parents’ house. The shoot is chronicled in “Independent Ed,” as is its enthusiastic reception.

Fast forward past his second feature, “She’s the One,” which starred Jennifer Anniston and Cameron Diaz, to 1998, when Mr. Burns was cast in Steven Spielberg’s “Saving Private Ryan.” During the course of production, he introduced his father and uncle to the director. The two policemen regaled him with stories about the streets of New York City in the 1960s and 1970s. At that point, the idea of turning that material into a film coalesced for Mr. Burns, and he made a deal with DreamWorks, Mr. Spielberg’s production company, to write the script. “I imagined it as my ‘Godfather,’ ” he recalls in his book.

The idea of a multigenerational saga about Irish-American policemen and gangsters, set in the 1960s and 1970s, took almost two decades to come to fruition with “Public Morals,” on which Mr. Spielberg is an executive producer. All 10 episodes of the first season have been completed.

“This was my chance to tell that big story on a far bigger canvas than I’ve ever been able to work on,” Mr. Burns said. “It also gave me the opportunity to tell the deeper stories with more complex characters, because even with a studio film with a big budget, you have 2 1/2 hours. I had 10.”

Mr. Burns plays Terry Muldoon, a policeman working in the Public Morals Division of the N.Y.P.D. in the ’60s, before the Knapp Commission was formed to investigate police corruption. Many of the cops in the division, including Muldoon, walk a thin line between morality and crime, accepting the occasional bribe or turning a blind eye to mostly victimless crimes such as prostitution and gambling. Things heat up when a war breaks out between two factions of the Irish mob in the Hell’s Kitchen neighborhood where Muldoon and his wife live.

“ ‘Public Morals’ is really the synthesis of all these passions of mine, whether it was the Irish in Hell’s Kitchen, the Irish gangster history, what it was like to grow up in an Irish-American cop family, the lives of cops, even just my curiosity about old Times Square and the West Side docks and Little Italy. I was exposed to all those things as a bridge-and-tunnel kid whose dad was a cop, but I also loved gangster movies and any and all literature that had to do with New York City and its history.”

The Burns family remains tightly knit. His parents and his sister, Mary, live in Rockville Centre — “UpIsland, as they say out here.” His brother, Brian, is a writer who lives in New York City. “We get together all the time,” said Mr. Burns. Only one scene in the series, in which Muldoon berates his son for fooling around in school, is autobiographical. “That’s word for word what happened between my father and me when I was in the sixth grade. Otherwise, the characters are composites of the men and women I was surrounded by as a kid.”

When Mr. Burns was growing up, his father would take the family to Hither Hills every summer in late August. “My dad loved to go out on the party boats fishing for bluefish. That was my introduction to the East End.” During college, Mr. Burns came out withfriends during the summer and mowed lawns, cleaned swimming pools, and bussed tables. “I landscaped all through college, and that gave me a little taste of the Hamptons that I was not too familiar with as a working-class kid whose father was a cop.”

One of the lawns he used to care for was Joseph Heller’s, whose garage had been converted into a writer’s room. “I used to push my mower past that room and think, one day that’s what I’m going to have. And after ‘Brothers McMullen,’ I immediately rented a house in Wainscott, where I stayed for a few years until I could afford to buy my first house.”

That house, on Gerard Drive in Springs, was home until the birth of his second child, Finn, in 2006, after which the family moved to larger quarters in East Hampton. Among Mr. Burns’s East End pleasures is fishing for stripers and fluke off the Boston Whaler he keeps at Three Mile Harbor.

“Independent Ed” details the ups and downs of his career and the many adjustments he had to make to maintain his independence as a writer-director. Among the many micro-budget projects, as he calls them, was “Nice Guy Johnny,” which was filmed mostly on the East End in the fall of 2009. Like “Brothers McMullan,” the production budget was $25,000.

“When I was making ‘Nice Guy Johnny,’ which was really an experiment to see if I could go back to my micro-budget ways, I wrote down a list of rules that were guidelines or parameters.” When he shared the list with his wife, the model Christy Turlington, she suggested he write a book about how he managed to get his low-budget films made. “I agreed with her, but I never did anything about it.”

After “The Fitzgerald Family Christmas,” his third consecutive micro-budget project, he visited a number of film schools where professors inevitably made the same suggestion. When he mentioned that to Ms. Turlington, she reminded him that “I’ve been telling you that for years,” and he finally took her advice.

Asked if he would ever return to the micro-budget model, Mr. Burns said, “I don’t want to say never, because who knows? But if all goes well, I get to do ‘Public Morals’ for four, five, six, or seven seasons. It’s a big ensemble piece, and there are dozens of directions and characters I can follow. So my fingers are crossed that we’re going to have a great season and go from there.”

The Hamptons International Film Festival will hold a private screening of the first two episodes of “Public Morals” at Guild Hall on Monday. Mr. Burns will also take part in the East Hampton Library’s Authors Night on Aug. 8 and be a guest at one of the private dinners that follow the book signings.

• STAR GIVEAWAY: Get tickets to Guild Hall's screening of Ed Burns's new series. 

Lola Montes at Tripoli

“Lola Montes: Akashic Records” will open at he Tripoli Gallery in East Hampton with a reception tomorrow from 6 to 8 p.m. The exhibition will run through Aug. 17.

According to the gallery, Lola Montes is a maker of “hallucinogenic scenes configuring into namable and unnamable, personal, figurative works.”

New at Silas Marder

“Sign Trees,” an exhibition of recent paintings and sculpture by Ryan McGinniss, will be on view from Saturday through Aug. 29 at the Silas Marder Gallery in Bridgehampton. A reception for the artist will be held on Saturday from 4 to 8 p.m.

In his new body of work, Mr. McGinness uses off-the-shelf industrial parts to create works that resemble traffic signposts, which, he says, “instead of communicating blunt pedestrian information . . . depict surreal personal narratives that provoke and invite investigation.”

Pavia Portrait Acquired

The Butler Institute of American Art in Youngstown, Ohio, has just acquired three works by Philip Pavia, including an imaginary portrait of a member of The Club, the 1940s and 1950s gathering place for artists of the New York School. Mr. Pavia, who lived in Springs and Manhattan, was one of the founding members of The Club, which often hosted panel discussions and visiting speakers.

Philip Taaffe at Horowitz

“Philip Taaffe: Works on Paper and Illustrated Books, 1982-2012,” will open Saturday at Glenn Horowitz Bookseller’s East Hampton outpost, above the Tripoli Gallery on Newtown Lane. The show will run through Aug. 30, and a reception will take place Saturday from 6 to 8 p.m.

In addition to Mr. Taaffe’s artworks, the exhibition will include reference works from the artist’s research library: catalogs, rare books, and first editions that have inspired him.

New at Markel

“The Summer Show,” an exhibition of paintings by gallery artists, will open tomorrow at Kathryn Markel Fine Arts in Bridgehampton and remain on view through Aug. 31. Participating artists are Yolanda Sanchez, Josette Urso, Sara Macculloch, and Denise Regan.

“Reconstructed Abstracts”

The Lucille Khornak Gallery in Southampton will open “Reconstructed Abstracts,” an exhibition of paintings by Elliot Gordon, with a reception on Saturday from 6 to 8 p.m. The show will remain on view through Aug. 15.

Mr. Gordon paints expressionistic interiors and still lifes whose often unusual perspectives and bold colors are reminiscent of Fauvism, a movement that included such artists as Matisse, Derain, and Rouault.

Sag Gallery Expands

The Monika Olko Gallery in Sag Harbor has transformed a former jewelry story adjacent to it into a home decor boutique featuring the arts and crafts of Morocco, Laos, and other far-flung locales. To celebrate the new space, the gallery will hold receptions from 7 to 9:30 p.m. on Saturday and Sunday.

Group Show at White Room

A group exhibition featuring the work of Sue Zola, Ellyn Tucker, Robert Tucker, Bryan Michael Greene, and June Kaplan is on view now through Aug. 17 at the White Room Gallery in Bridgehampton. A reception will take place Saturday from 6 to 8 p.m.

The varied mediums on view include the glitter art of Ms. Zola, the collages of Ms. Tucker, monoprints by Mr. Tucker, Mr. Greene’s digital images, and paintings by Ms. Kaplan.

Longboards, and More, At LongHouse

“Surf Craft: Design and Culture of Board Riding” will be open at the LongHouse Reserve in East Hampton tomorrow from 5:30 to 7:30 p.m. Over 40 boards will be displayed, their shapes spanning the history of the craft of surfboard design.

Richard Kenvin, a surf historian, has assembled a collection of boards from the early 20th century that will also be of interest to non-surfers who appreciate the art of functional design. “Even if you don’t know anything about surfboards, these marvels of wood, fiberglass, and foam stand on their own as works of art,” The Los Angeles Times wrote.

Benefactors are underwriting $16,000 of the $38,000 it cost to bring the exhibition to LongHouse. The remaining $22,000 will be crowd-funded with the support of Main Beach Surf and Sport in Wainscott and Pilgrim Surf and Sport in Amagansett and Brooklyn. Donations can be made by visiting goodcircle.org and searching for “LongHouse Reserve Surf Craft.”

Exhibit at Canio’s

“Witness,” an exhibition of landscape art by Dennis Snyder, a painter, and Kathryn Szoka, a photographer, will open tomorrow at Canio’s Books in Sag Harbor with a reception from 5 to 7 p.m. and continue through Sept. 7.

Mr. Snyder’s landscape paintings often juxtapose surprising and surreal images — a barefoot, robed figure walking on water, for example, in an otherwise empty field.

Ms. Szoka’s new photographs explore such themes as isolation, discrimination, and self-absorption by focusing on the East End’s developed landscape.

Watercolor Workshop

Also in Sag Harbor, Roisin Bateman, a painter whose work is inspired by nature’s laws of transformation, will conduct a four-session watercolor workshop at the John Jermain Memorial Library focused on summer fruits and vegetables. Classes will start Tuesday at 10:30 a.m. and continue Tuesdays at that time through Aug. 25. The $35 fee includes materials; preregistration is required.

“Frost Bite” in East Hampton

Peter Anton, a sculptor known for his large-scale boxes of chocolate and sculptures of food, will turn a portion of East Hampton’s Gallery Valentine into a giant freezer today through Aug. 13.

The exhibition, “Frost Bite,” will feature his oversized sculptures of childhood frozen favorites such as ice pops, ice cream cones, and others. A reception will be held Saturday from 6 to 8 p.m.

Recycled Into Art

“Upcycle,” an exhibition organized by Elisa Contemporary Art and opening Saturday at the Design Studio in Bridgehampton, will feature artwork created entirely from recycled materials. The show will run through Sept. 20.

Among the materials used are newspaper, magazines, junk mail, commercial signage, plastic scraps and strips, caps and bottles, wood, steel, tools, drills, and metal parts. Participating artists are Joseph Dermody, Carole Eisner, Aurora Robson, Adriana Rostovsky, and Cheryl Wassenaar.

Open Call

In recognition of the 375th anniversary of the founding of Southampton, the Rogers Memorial Library has issued an open call to East End artists 16 and older for images that celebrate the natural resources, native inhabitants, historic sites, and cultural diversity of the town. Entries will be accepted from Saturday through Aug. 31, and 25 pieces will be selected by three jurors for a group exhibition in the fall. Details can be found on the library’s website.

Andrea McCafferty will serve as curator for the 48th annual “Artists of the Springs Invitational Exhibit‚” opening tomorrow at Ashawagh Hall with a reception from 5 to 8 p.m.

The show traces its beginnings to 1967, when it was known as “Art on the Wall” at Ashawagh Hall. Since then, it typically has been tied to the annual Fisherman’s Fair, an even longer tradition that traces its origins back over eight decades. It will be held on Aug. 8 this year.

The more than 125 artists who participate vary every year with the taste and personality of the curator. With so many artists in the region, the show is a time of both celebration and disappointment. Ms. McCafferty is the director of the White Room Gallery in Bridgehampton and ran the Crazy Monkey Gallery previously.

She has offered a hint as to what to expect this year with a partial roster that includes Abby Abrams, Elaine Grove, Paton Miller, Savio Mizzi, Jim Gingerich, Barbara Groot, Ellyn Dooley, Eric Ernst, Ken Robbins, and Amy Zerner. The rest will soon be revealed.

The exhibition will remain on view through Aug. 16. Half of all sales will benefit the Springs Improvement Society’s scholarship fund. The Fisherman’s Fair proceeds go to the maintenance of Ashawagh Hall.