“Diller Scofidio + Renfro: Reimagining Lincoln Center and the High Line,” a 54-minute documentary produced by the Checkerboard Film Foundation, will be screened tomorrow at 6 p.m. at the Parrish Art Museum in Water Mill.

Founded in 1979, the interdisciplinary design firm is known for such projects as the Institute of Contemporary Art in Boston, the School of American Ballet expansion in Manhattan, and the Broad Museum, currently under construction in Los Angeles. Elizabeth Diller and Ricardo Scofidio, the firm’s founders, have been awarded MacArthur Foundation “genius grants.”

Between 2004 and 2011, the firm, working with James Corner Field Operations, converted the derelict High Line railroad tracks in Chelsea into an elevated urban park. The firm also redesigned Lincoln Center’s Alice Tully Hall, the Juilliard School, and public spaces within the cultural complex, from 2003 to 2010.

The film includes commentary from the architects as well as interviews with New York City civic figures, critics, and theorists. Tickets are $10, free for members, students, and children.

The museum has also announced a collaboration with the City Center in Manhattan, where it will act as curator for the performing arts venue’s Frederic and Robin Neimark Seegal Video Gallery, a large video-display wall that extends the length of the center’s lobby.

The first work commissioned by the center and the museum is “Breakout,” a seven-minute, single-channel video by Lisa Gwilliam and Ray Sweeten that interacts with the gallery’s architecture. The installation, which explores rhythm, light, and distortion of the visual field, will remain on view through December.

The John Drew Theater Lab will present a free staged reading of “In a Roundabout Way,” a play by Kim Sykes, an actress, writer, and artist from New York City, on Tuesday at 7:30 p.m.

The play is set at a time of political partisanship, financial chaos, and the struggles of women and African-Americans for a place in the American dream. Two women, Mary Todd Lincoln and Elizabeth Keckley, a former slave who became a civil activist and confidante of the president’s widow, try to rekindle their friendship amid the upheavals of late-19th-century America.

Directed by Paul Hecht, the production stars Cynthia Darlow (Mrs. Lincoln), Ms. Sykes (Ms. Keckley), Anthony Michael Hobbs, and Peter Connolly.

Next Thursday evening at 7, the East Hampton Film Society will present “Chinatown,” Roman Polanski’s 1974 noir mystery set in Los Angeles in 1937. The film received 11 Academy Award nominations, including best picture, and won the award for best original screenplay.

The stellar cast includes Jack Nicholson, Faye Dunaway, and John Huston, and Mr. Polanski in a brief but chilling cameo. Tickets are $8, $6 for members of Guild Hall.

The Hamptons Take 2 Documentary Film Festival, which will take place in December at Bay Street Theater in Sag Harbor, will begin accepting submissions on Wednesday. Now in its eighth year, the festival celebrates the rich world of documentary films, with a particular emphasis on filmmakers from New York City and Long Island. Details about how to submit work can be found on ht2ff.com.

HT2FF also holds screenings throughout the year at different venues on the East End. A special showing of “Iris,” a documentary by Albert Maysles, who died on March 5, will be shown in his honor at Bay Street Theater on April 19 at 2:30 p.m.

Bay Street Theater will present “Get Down With Dawnette: A Classic Variety Show” on Saturday at 8 p.m. Dawnette Darden, who has performed for 10 years with her own band, New Dawn, and more recently with the HooDoo Loungers, will host the program, which will be modeled after such classic television fare as “Laugh-In” and “The Carol Burnett Show.”

Ms. Darden will sing with her two bands as well as with special guests — Inda Eaton, Mama Lee and Rose Lawler, Marvin Joshua, Julia Minerva, a comedian, and Danny Ximo.

New Dawn is a six-member band that specializes in rock ’n’ roll, blues, funk, and neo soul. The HooDoo Loungers is a nine-piece East Coast band whose music is inspired by the rhythms, sounds, and spirit of New Orleans.

Tickets are $20 in advance, $25 the day of the event, and can be purchased at baystreet.org.

We have always envied birds their ability to fly, and in the West, once Leonardo da Vinci had made drawings of his ornithopter in about 1505, it seemed only a matter of time before early primitive models would evolve into power-driven vehicles.

It was likely that patrons of Adrian Nivola’s first solo show of sculptures, which resembled flying machines imagined before such things could actually fly, had this in mind when they scooped all 24 of them up, selling out the August show at the Drawing Room in East Hampton in a matter of weeks.

"Flyer for a Retired Samurai" from 2014

Made with wire, aluminum, string, acrylic, linen, brass, silk, wood, and even watch parts, his sculptures are elegant three-dimensional drawings evoking the draftsmanship of Saul Steinberg, the mobiles of Alexander Calder, the paintings of Joan Miro, and the exquisite wearable sculptures made by Ruth Nivola, his paternal grandmother, who wove metallic yarns, silk, and gold thread into Etruscan-looking jewelry. The sculptures have a touching quality but also their share of whimsy.

"Black-Sailed Flyer for Theseus" from 2014

At his Brooklyn studio, Mr. Nivola, a Cambridge, Mass., native who spent summers with his father’s parents in Springs, acknowledged the debt these sculptures owe to architecture. For three years, he built models for the design firm of Chermayeff & Geismar.

“The scale thing is really important,” he said. “You cannot believe in the world of that structure and project yourself into it unless the parts are unified within the scale in a way that is consistent.”

Primarily a painter — he earned an M.F.A. at the New York Studio School of Drawing, Painting, and Sculpture after graduating from Yale College — Mr. Nivola had made a few sculptures of that type, but it was after someone sent him a photo of one of the pre-Wright Brothers pioneers a couple of years ago that he started to immerse himself. In the photo, “The inventor was the pilot and he had a sort of devil-may-care look combined with a terrified look,” he said. “These machines seemed to me to have an expressive power to them with expressions of the hope of flight, but they also have a desperate quality about them.”

He doesn’t make drawings in advance. “I don’t pre-plan anything . . . inventing as I go, trying to capture the spirit and the humor that’s partly related to their pathos.” It is the look of the machines that he captures, but even more inspiring is the courage of “the guys who were risking everything.” Mad scientists possessed with the idea of potential glory, some added bat-like wings in their efforts to stay aloft.

Mr. Nivola decided to be a painter after living in Carrara, Italy, for a year, as an apprentice to Caio Fonseca. He finds a similar feeling of being drawn in to the universe of sculpture in the work of such master painters as Bonnard, Manet, Matisse, Goya, Soutine, Turner, Vuillard, Cezanne, and Morandi, and aims to replicate it in his paintings as well.

“A painting is a balance of asymmetric forces,” he said. “The goal should be more than that, but it’s a necessary criterion for the painting to work. You have to have tenderness to draw out the expressive qualities of the subject — maybe it’s a form of empathy — that holds even if it’s a violent subject.”

Mr. Nivola has painted portraits that are subdued and quite affecting, especially the ones of family members. He enjoys the challenge of capturing the “different aspects of their character, trying to express several different poses in one body, or in the face to convey different states of mind in one head. . . . Their personality may contradict what their physiognomy shows.”

Fish are also a favorite subject for “their expressions and the attitudes they seemed to express: Some look angry and some have a beatific smile on their faces. It seemed to me I could make portraits of them the way I do of people” (and they pose for so much longer than humans).

He is inspired by the connection between color and light, even as he finds the task of achieving light with paint “endlessly complex, maddening, and impossible.” And he enjoys pondering the concept of “volume, which is what transforms a painting into something real . . . instead of looking at a design on a surface: The front of the painting is the back of your head and the back of the painting is the front of your head.”

To Mr. Nivola, painting is “a way of seeing,” the effect of the artist’s ability to “group forms, lines, and colors and separate them,” to organize and prioritize everything that is in front of him. He said that orchestration might be a better way to think of it, the producing of a sort of “visual music out of the subject . . . how to translate the subject into the medium of paint in such a way that it has the power, rhythm, and elegance of music — the tension-filled rests between the notes.”

He uses oil paint mainly because he likes “its viscosity and the luminosity that it’s capable of.” It’s a medium that can be handled in a lot of different ways and that has many possibilities, but at the same time, “it’s less of a flexible medium than you would think.”

Having the genes for all these endeavors, including playing jazz piano, Mr. Nivola does nonetheless have a preference: “Painting is my obsession, though I love to sculpt, too.”

Ceramics at Ille Arts

Ille Arts in Amagansett will open a solo exhibition of sculpture by Peter Jauquet with a reception on Saturday from 5 to 7 p.m. The show will run through April 6.

Mr. Jauquet, who lives in Greenport, has worked as a ceramic sculptor for eight years. His work is informed by Cubism and Surrealism and reflects his interest in tribal art, veneration objects, and religious and political figure types.

He builds his figures from flat strips and slabs of clay that are shaped and bisque fired. Some pieces are then stained and glazed in a second firing, while in others under-glazes and stains are applied to green ware in one firing. The works are meant to be viewed frontally.

“Entitled” at Nightingale

“Entitled,” a group exhibition, will be on view at Sara Nightingale Gallery in Water Mill from tomorrow through April 12. A reception will begin tomorrow at 6:45 p.m., the moment the East End transitions into spring, and run until 8:45.

“ ‘Entitled’ is a riff on the weary and overused ‘Untitled,’ ” according to Ms. Nightingale. “After all we have endured this winter, we are entitled to spring. We’re also entitled to some beautiful art.”

The show will include paintings by Steve Miller that celebrate endangered floral species in the Amazon; paintings on aluminum by Cara Enteles, whose work raises environmental issues; “moon paintings” created by Ross Watts from tar paper, plaster, and burlap, and photographs of “Landscape Cakes” by Christa Maiwald. Cake from one of the images will be served.

Open Rehearsal at Watermill

An open rehearsal of a video and performance piece by Tamar Ettun will take place Sunday from 1 to 2 p.m. at the Watermill Center. Titled “A Mauve Bird With Yellow Teeth Red Features Green Feet and a Rose Belly,” the work, which will be performed by Ms. Ettun and the Moving Company, deals with questions of movement and stillness.

A Brooklyn sculptor and performance artist, Ms. Ettun is currently in residence at the center. She has had solo exhibitions and performances in New York, Tel Aviv, Las Vegas, and Indianapolis, and group exhibitions through­out the United States and abroad.

The program is free, but reservations are required and can be made at watermillcenter.org.

Mystery Art Sale Returns

The Springs School PTA, which will hold its second Mystery Art Sale at Ashawagh Hall from April 29 through May 2, has invited artists to donate from one to four 5-by-7-inch pieces in any medium, including photography, to be exhibited with artwork by the students. The pieces will be displayed anonymously and sold for $20 each throughout the week. Some artworks may be selected for a silent or live auction on May 2.

Last year’s sale of more than 1,100 small works by professional, amateur, and student artists raised more than $30,000 to support the Springs School’s Visiting Artists Program.

The intertwined musical history of Bob Dylan and the Band will be explored on Saturday when the Complete Unknowns, a group that performs the music of Mr. Dylan, and the HooDoo Loungers, a group known for its funky, New Orleans style, pay tribute to the legendary artists at Bay Street Theater in Sag Harbor.

This year marks the 50th anniversary of Mr. Dylan committing what to some of the folk purists who revered him was sacrilege: With a backing band that included members of the Paul Butterfield Blues Band, he “plugged in” and performed with electric instruments at the Newport Folk Festival. He subsequently toured with the equally electrified Hawks, a group of mostly Canadian musicians who later renamed themselves the Band.

“They had a reputation as a really rough-and-tumble band,” Michael Weis­kopf, who leads the Complete Unknowns, said of the Hawks. Mr. Dylan’s manager, the late Albert Grossman, “hired them when Dylan went on that tour in 1965, when he went electric and everybody booed them in England and France,” he said.

That turning point, Mr. Weiskopf said, will be a theme for his group in 2015. “In my opinion, that’s what changed everything in rock ’n’ roll,” he said of Mr. Dylan’s “sacrilegious” act. “It redefined the whole thing.”

Following Mr. Dylan’s 1966 motorcycle accident, the artists reconvened in and around Woodstock, N.Y., where extensive sessions yielded defining recordings including “The Basement Tapes,” a 138-track anthology of which was released in November, and “Music From Big Pink,” the Band’s debut album, which included songs written by Mr. Dylan.

Mr. Weiskopf is fascinated by the artists’ cross-pollination and the creativity it yielded. “They went through that rough period in Europe,” he said of the Band, “and then hung out with him when he was redefining himself.” The influence of the Band’s Rick Danko and Richard Manuel on Mr. Dylan’s vocal style, he said, is clear from the recordings they made together. “It was a really good time,” he said. The artists toured together again in 1974.

As the Complete Unknowns conclude a four-month hiatus, the group will acknowledge Mr. Dylan’s 1965 about-face on Saturday and in its other performances this year. “It’s exciting to get back together and start working on some new stuff,” Mr. Weiskopf said. “We’re not necessarily going to do the set he did” at the Newport Folk Festival, “but that’s what we’re working toward this summer.” 

“It’s going to be a really special night celebrating two of the great icons of American music,” Joe Lauro, who plays in the HooDoo Loungers, said of Saturday’s tribute.

“It should be a really good show,” Mr. Weiskopf echoed, “because the Hoo­Doo Loungers are great. It should be a really good night of music.”

“Bob Dylan and the Band: A Tribute” begins at 8 p.m. on Saturday. Tickets cost $25.

Johannes Brahms will be celebrated by the Choral Society of the Hamptons on March 22 in an early evening concert at the East Hampton Presbyterian Church.

“Brahms in Love” should remind its audience why the composer’s funeral cortege attracted thousands of mourners on the streets of Vienna in 1897. The program will include an arrangement of his well-known “Lullaby,” as well as “Lovesong Waltzes” for chorus and four-hand piano, four songs for women’s chorus, horns, and harp, and four love songs for men’s chorus.

Jennifer Scott Miceli will be the guest conductor for the chorus and four soloists: Marla Waterman-Peltzer, soprano, Barbara Fusco, mezzo-soprano, Max Avery Vitagliano, tenor, and Christopher Judge, baritone. Michael C. Haigler and Arielle Levioff will provide the four-hand piano accompaniment.

Jan Swafford, a biographer of Brahms, has written that the composer’s “music unites magisterial perfection with lyrical warmth, a monumental style with whispering intimacy.” While focusing on the composer’s quieter moments, the program shows him to be “a giant of his time and ours,” said Ms. Miceli.

The guest conductor may be familiar to audiences from two years ago, when she led the society in a program of jazz-influenced works. She is the director of music education and vocal jazz at the C.W. Post campus of Long Island University, where she also serves as department chair. She is the vice president of the New York State Association of College Music.

The concert will begin at 5 p.m., with a benefit reception to be held at the Palm restaurant, just east of the church on Main Street, following the event. Concert tickets, $30 in advance, can be purchased through the society’s website or at Romany Kramoris Gallery in Sag Harbor. Tickets will also be available at the door for $35. The reception, which includes wines by Channing Daughters and hors d’oeuvres, costs $100; reservations can be made through the society’s website through next Thursday.

The choral society’s summer concert will focus on Haydn’s “The Creation,” conducted by Mark Mangini, and will be presented on June 27. Joining the society in the parish hall of Most Holy Trinity Church will be the Greenwich Village Chamber Singers. 

Bay Street Theater will hold equity principal local auditions on Saturday from 10 a.m. to 2:30 p.m. for its 2015 Mainstage productions, “The New Sincerity,” “Other People’s Money,” and “Grey Gardens: The Musical,” as well as for its fall production, “Of Mice and Men.”

Scott Schwartz, the theater’s artistic director, and John Sullivan, its associate producer, are looking for male and female actors of all ethnic and racial backgrounds. Participants have been asked to prepare a monologue of one to two minutes and, for those trying out for “Grey Gardens,” 16 bars of music. Complete details, including character breakdowns, can be found at baystreet.org.

The Hampton Theatre Company will hold auditions for “Hay Fever,” Noel Coward’s comedy about the eccentric Bliss family and its idea of how to entertain houseguests during a quiet country weekend, on Sunday and Monday, from 6 to 8 p.m., at the Quogue Community Hall.

All roles except those of Judith and David Bliss are being cast. Three of the four women are in their 20s or 30s; one is middle-aged or older. The three men range in age from 20s to early 50s. Readings will be from the script; neither monologues nor appointments are necessary. Rehearsals will begin the second week of April, with performances from May 21 through June 7. More information is available at hamptontheatre.org.

“The Sea Is All I Know,” a 29-minute film directed by Jordan Bayne and starring the Oscar winner Melissa Leo, has signed an international distribution deal with IndieFlix and is available for viewing on indieflix.com and Amazon Fire TV.

The award-winning film, which also stars Peter Gerety and Kelly Hutchinson, concerns an estranged couple who come together to aid their dying daughter. Filmed on the South Fork over a four-day period in June 2010, the production consulted with Arnold Leo, the actress’s father, a writer and bayman who lives in Springs, and includes a performance by Brad Loewen, another Springs fisherman, whose pound traps are part of the film.