Mary Black, a dominant presence in Irish music both at home and abroad for 25 years, will perform at the Basilica Parish of the Sacred Heart Jesus and Mary Catholic Church in Southampton tomorrow at 7 p.m. as part of her international “Last Call Tour.”

Throughout her career, Ms. Black has explored work available from new composers, rather than focusing on traditional but well-worn Irish ballads. She has released 11 studio albums, all of which went platinum, and has recorded and performed with such artists as Emmylou Harris, Mary Chapin Carpenter, Joan Baez, and Van Morrison.

Tickets for the concert are $32, $40 for premium center aisle, and can be purchased online at shjmbasilica.org.

The Joseph Slifka Center for Jewish Life at Yale is presenting “No One Remembers Alone: Memory, Migration, and the Making of an American Family,” an exhibition organized by Patricia Klindienst, through Feb. 1.

Ms. Klindienst, a summer resident of Amagansett, has created a visual biography of a family of Russian Jews who immigrated to the New World at the turn of the 20th century. Drawing on six years of archival and genealogical research and dozens of interviews, she illuminates a turning point in history, telling a story that could belong to millions of American Jews.

The John Drew Theater Lab will present “Songs of Life and Love,” a free performance by Paul Alexander, Tuesday at 7:30 p.m. at Guild Hall. Mr. Alexander, an ASCAP award-winner and East End resident, has performed at many venues, New York City cabaret clubs and theaters among them. The program will include an eclectic mix of pop songs, standards, country, and a few originals. Dan Koontz will accompany Mr. Alexander.

Oenophiles, rejoice! This year has been another excellent one for the Long Island wine industry. “It was a dream,” said Roman Roth, a partner and winemaker at Wolffer Estate Vineyard in Sagaponack. “It was a summer without humidity, just an amazing start and middle of the growing season. As a result, we have completely healthy fruit, no disease pressure, and that translates into pure fruit flavors and aromas and flavorful wines.”

Channing Daughters Winery in Bridgehampton also reported very good quality and quantity. “This was probably the driest growing season on record,” according to Larry Perrine, a winery partner and C.E.O. “I have a professional climate gauge here and I tracked it in July, August, and into September. It was really dry and a little milder than average, and with all the sun we had an excellent growing season.” The grapes at Channing Daughters were 95 percent picked as of last Thursday.

Wolffer Estate still had copious clusters of merlot, cabernet sauvignon, cabernet franc, and chardonnay on the vine as of last Thursday. “Because there has been such low disease pressure, we just kept hanging, hanging, and hanging,” said Mr. Roth. “We still have 12 tons of chardonnay hanging. We really push hard to ripen extra fruit. That’s what’s so nice on Long Island; we have these Indian summers. This whole week has been amazing.” Mr. Roth expects to be finished with the harvest today.

Ami Opisso, general manager of Lieb Cellars in Cutchogue, echoed her South Fork colleagues. “We’re not done harvesting yet,” she said. “I’m actually running out now to help pick, but I can tell you that it’s been a pretty incredible year in terms of the quality and quantity of fruit we’re bringing in. We’re seeing bunches that are 40 percent larger than average, and our winery is literally bursting at the seams!” The winery had to rent tanks to accommodate all the grapes.

Mr. Roth said that 2013 was the most amazing growing season in the history of the Long Island wine industry. “Probably one of the greatest in the world, like 1945 in Bordeaux or 1976 in Germany. 2012 was also very good. I don’t know if this year will beat 2013, but it will be close. Everybody made good wines on Long Island, so it’s great for everybody.” Mr. Roth added that since he came to the South Fork in 1992, the area has not had a direct hurricane hit during the growing season.

Ms. Opisso sum­med up the consensus. “We won’t be able to comment on wine quality until all of the fruit is in and all of the ferments are complete, but so far 2014 is looking to be a record-breaking vintage.”

 Maria Bacardi, a Cuban-born actress and singer who lives in East Hampton, will perform a selection of Cuban songs on Saturday at 6 p.m. at GGrippo Art and Design in Williamsburg, Brooklyn. The occasion is the opening of “Alien Bloom,” an installation by Eteri and Gocha Chkadua Studio.

Two new exhibitions, “Alan Shields: In Motion” and “Steven and William Ladd: Mary Queen of the Universe,” will open at the Parrish Art Museum in Water Mill on Sunday and remain on view through Jan. 19. The Ladd Brothers’ show will open with a live performance by the artists Sunday morning at 11.

Alan Shields, who lived on Shelter Island until his death in 2005, was a central figure in the New York art world during the 1970s. His early works extended the parameters of painting by taking the canvas off the stretcher, weaving strips of canvas, ornamenting them with beads and other materials, and hanging them directly on the wall.

Shields left New York for Shelter Island in 1971, while Steven and William Ladd were born in St. Louis in 1977 and 1978, respectively. Despite working at different times and in different contexts, materials such as beads, belts, fabrics, and textiles figure in both Shields’s and the Ladd brothers’ work, and performance is an element common to both.

The Ladds began their careers in jewelry and handbag design and production, and the show, which includes sculpture, drawings, and prints, reflects their ongoing blurring of the boundaries between design and fashion, fine art and craft. The core of the exhibition is a series of 12 large sculptures, each consisting of 24 handmade, densely packed boxes, installed on the walls in their own individual grids.

According to the Ladds, “The works for this exhibition are based on our shared experiences as brothers at a small Catholic grade school called Mary Queen of the Universe. During that time our family managed to take one out-of-state vacation. We were four kids and two adults in a station wagon and the highlight was a stop in Hershey, Pennsylvania. Chocolate became the title for one of twelve large works on exhibition. The landscape is made of various chocolate colored trimmings rolled into scrolls, and the surface of the scrolls is embellished with found trinkets, crystals, and gemstones.”

Sunday morning’s performance is titled “Faith.” During the 20-minute silent program, the Ladds will transform one of their largest tower sculptures, also called “Faith,” by separating the 36 stacked boxes and arranging them on the floor to reveal interiors packed with dark-green scrolls, black-beaded trees, glowing glass flames, and handcrafted brass ants. After the performance, they will discuss how their shared childhood memories formed the basis of their work.

Collaboration is central to the Ladds’ practice. As part of a new artist-in-residence initiative at the museum, they will lead more than 1,000 East End students in a four-week art program that connects such concepts as the use of recycled and repurposed materials, creative collaboration, and storytelling through art. Students will tour the exhibition, learn how the artists make and use scrolls, and make a group installation and an individual scroll to keep.

Participating schools include Southampton public schools, Tuckahoe Common School, Bridgehampton School, Project MOST, the Shinnecock Indian Education Program, Bridgehampton Childcare and Recreation Center, East Hampton Learning Center.

The Alan Shields show, which includes works from private collections and the artist’s estate, focuses on the theme of motion, particularly as it relates to dance. According to Jill Brienza, the guest curator of the exhibition, it will be the first show to explore movement and interaction in Shields’s work.

“Maze,” Shields’s largest and most ambitious piece, which dates from 1981-1982, is the cornerstone of the show. Constructed of acrylic and thread on canvas, cotton belting, Velcro, and aluminum pipe, “Maze” is at once a sculpture, a room, and a performance space approximately 18 feet square and more than 7 feet tall. Viewers are encouraged to walk over, under, around, and through the piece.

The exhibition will also include video, sound, wearable pieces, and a selection of rarely seen stop-frame animation works. “Devil, Devil, Love,” a large lattice piece from the museum’s permanent collection, will also be on view, as will two other large-scale sculptures, “Dance Bag” and “Ajax.”

A dance performance by the Stephan Petronio company, which was choreographed with “Maze” as the set, will take place on Nov. 7 at 6 p.m. A question-and-answer session with Mr. Petronio and interactive tours led by the dancers will take place after the 20-minute performance. Additional performances will happen at one-hour intervals on Nov. 8, between 1 and 4 p.m.

Ms. Brienza, a curator, producer, and writer who organized a traveling show, “Alan Shields: A Survey,” will lead a gallery tour of the exhibition on Nov. 2 at 11 a.m.

It was while driving back and forth from Montauk to her job at VJS Studio in East Hampton that Mary Daunt realized what an unusual landscape lies on either side of Montauk Highway and in Montauk generally. “The light is a lot more intense in the early fall. I prefer fall colors — there’s so much contrast between the red and green and the blue and orange.” Montauk’s landscape “is wilder,” she said.

As she worked, she found that she was better able to achieve her interest in “pushing the color rather than the detail” by using pastels, which “worked better for me, I found a technique that helps me build a lot of layers. When you cover the surface with pastel, it’s a painting. When you sketch on paper and let it show through, it’s a drawing.” Seen from a slight distance, her landscapes look like oil paintings.

“Oil paint is to acrylic what butter is to margarine,” Ms. Daunt said, but she has come to prefer pastels, which were “always my favorite medium. You can leave it set up, there is no mixing of colors, no taking it down. It is very immediate gratification.”

Growing up in York, Pa., Ms. Daunt visited the Jersey Shore as a child and first came to the East End with a pal from art school. She fell in love with Montauk, eventually moving there about 35 years ago.

She has shown her work at East End galleries since 1996 as well as at the Box Art Auction. In 2011 The New York Times featured a painting she did for “America the Beautiful,” an exhibition at the Southampton Cultural Center curated by Arlene Bujese.

Even when she wasn’t able to make the time to do her artwork, “it was always in my head,” Ms. Daunt said. As her children have become more independent, she has been able to devote more time to painting landscapes and still lifes and especially to art restoration, cleaning out her Montauk garage of all the stuff that had been stored there and making it her studio.

While landscapes make up much of her work, she said she rarely works outside. To avoid the temptation of focusing on detail as opposed to experimenting with color, she works mainly from photographs, on museum-grade sanded paper. Sometimes she puts a piece aside because she doesn’t like it or it’s not working, and comes back to it years later with a fresh eye. “I finish it without photo reference and it turns out to be one of my favorites.”

She sees abstraction and realism as a continuum. “I don’t think you can really separate the abstract components from the realistic . . . the abstract qualities of a painting are always there, even in realistic works. There is a balance between the two things.”

For subject matter, she prefers Montauk’s more untamed vegetation to farms or other landscapes. “Farm fields are too finished. . . . In a farm field, how do you get reds? It’s all about the light and shadow. Your eye needs points of interest and places to rest.”

Although Lee Krasner spent much of her life in Springs, it would be a mistake to neglect the contribution of Norman Lewis to “From the Margins: Lee Krasner | Norman Lewis, 1945-1952,” now at the Jewish Museum in Manhattan. The exhibition so enmeshes their work that it is difficult to divide one from the other.

Krasner, born in Brooklyn to Russian emigres, moved here in 1945 with her husband, Jackson Pollock, and helped form the colony of artists working here who would define midcentury Modern art.

The paintings on view in this show are from very fertile years in her career and will be a treat to those who appreciate her “Little Images,” created in a small bedroom in the couple’s farmhouse while she was thought to have stopped making art to support her husband’s career, and before she shifted to larger canvases. This is the kind of work that can make one pause to reflect what her art might have been had she not felt compelled to compete with the big male dogs of heroic Abstract Expressionism in the 1950s and beyond.

Krasner has been well in evidence lately in gallery shows, art fairs, and other exhibitions, but rarely by the best representations of her work. It takes a serious museum show to round up the better pieces and remind us how powerful she or any artist can be when their highest realizations are shown.

There are some delightful works here, compact, intricate, dense. They are so clearly powerful on their own, it is difficult to imagine a time when they would have been considered secondary. The same can be said for Lewis, whose work mostly differs from Krasner’s in style but retains a unique structure and composition that stands the test of time.

In the catalog, with essays by Norman Kleeblatt, Stephen Brown, Lisa Saltzman, and Mia Bagneris, much is made of Krasner’s “writings,” her movements of line into tightly executed shapes and structures, often self-contained but progressing across and down the canvas. Many sources are posited for these apparently symbolic structures. The artist herself acknowledged late in life that they could have been influenced by the Hebrew letters she encountered in prayer books as a child.

Ms. Saltzman suggests that it is not merely the Hebrew characters and their right-to-left progression that serve as influences. She cites the pictographs Pollock was creating during this period, Krasner’s projects for the Works Progress Administration, which brought in elements of Russian Constructivism and the Bauhaus, and a fascination among Surrealists of the time with tablet inscriptions found at Knossos and translated four decades later in 1952.

These paintings were created on a tabletop and were kept small by necessity. The artist applied paint straight from the tube, with thick daubs or thinner drippy lines. In some, she took skeins of white or a light color and ran them over wider swathes or patches of deeper color.

Two untitled works look like Pollock drip paintings, but their easel size and her apparent “horror vacui” make these magnificently snarled and tangled compositions perfectly realized more-is-more images. They are jewel-like feminine retorts to the histrionics of Pollock’s action-painting balletics. Controlled and complicated, they mask more than they reveal and offer no way in — talk about mystique!

Yet calling attention to these two paintings does not diminish the power of her more pictorial canvases, and, in one case, panel. Those works, for the most part, are as engaging as they are visually dense. “Black and White Squares No. 1‚” from 1948, is a layered geometric exercise, balancing expressivity and precision. The repeated motif in no way forms a pattern. Rather, it seems more like a random assemblage of imperfectly proportioned windows or box cameras, maybe even picture frames. The repetition of lines around a central core can sometimes overlap to suggest three-dimensional illusion, but Krasner never violates the sacred canon of formalism in these works, whether adding the spirals, triangle, and circle to the collection of shapes or glyphs she composes, or thickening up the paint past the acceptable norms of flatness.

The picture plane begins to open up in a work like the 1950 “Lava‚” some time before her supports do. “Lava” is a mere 40 by 30 inches, the same dimensions as her more claustrophobic paintings. The exhibition then jumps to 1965, with “Kufic,” at a monumental 81 by 128 inches, more than 11 feet wide. This monochromatic, tone-on-tone painting references an Arabic script form of writing, a seeming red herring when compared to the work’s open figural references, which flow into each other. This is Krasner’s colossal style, practiced in Pollock’s larger barn-studio after his death, with an overall vastness and larger forms that might cluster but never achieve the same density as the earlier pieces.

Speaking of Formalism, the neglect of Krasner and Lewis by that era’s critical titans Harold Rosenberg and Clement Greenberg actually gave rise to this exhibition. In a previous show at the museum, “Action/Abstraction: Pollock, De Kooning, and American Art, 1940-1976,” the two were relegated to a section called “Blind Spots‚” to indicate the critics’ indifference to certain artists. In that setting, these seemingly unrelated artists from vastly different backgrounds fell into a collegial conversation, or at least their paintings did. And here they do, too. Lewis’s Bermuda background and Harlem upbringing were far removed from Krasner’s youth in a Russian-Jewish enclave in Brooklyn, and yet their artistic growth on the “margins” (from the show’s title), is surprisingly complementary.

At times one even sees the same veiling of subject matter under paint in Krasner’s work as is seen repeatedly in the Lewis paintings. It is enough of a tendency, to want to find more examples in other artists’ work, to see how prevalent that approach was at the time and what its sources were. It demonstrates why the temptation is so powerful to define artists of this era under one rubric and how they so often confound it.

The exhibition will remain on view through Feb. 1. Temple Adas Israel in Sag Harbor and the Pollock-Krasner House and Study Center will offer a docent-led tour of the exhibition, with bus transportation, next Thursday. The tour is at 1 p.m. and costs $35, $65 with transportation. Reservations can be made through Toby Spitz at [email protected].

Guild Hall will present two new exhibitions, “Mary Ellen Bartley: Leaning Above the Page” and “New Additions to the Guild Hall Museum Permanent Collection, 2010-2014,” from Saturday through Jan. 4. An opening reception will be held Saturday from 5:30 to 7:30 p.m.

Ms. Bartley, who lives and works in Wainscott, will show 19 photographic works selected from five ongoing series: “Paperbacks,” “Standing Open,” “Blue Books,” “Sea Change,” and “Push 2 Stops.” Marked by a minimalist aesthetic, her work investigates the overlapping of abstraction and representation in straightforward still lifes that use books, photographs, and light as subjects.

“Books have become my muse,” said the artist. “I’ve used them in several different series, each time finding new qualities to highlight and explore.” The “Paperbacks” series focuses on paperback books, stacked vertically or aligned horizontally, with only the page edges visible. Ms. Bartley acknowledges that the soft light and muted palette of this series are in part an homage to Morandi’s still lifes of bottles.

In “Standing Open,” the books are deployed horizontally, page edges facing the viewer, but in many photographs some of them are partially open, so that fragments of image or text are visible. Books with blue covers figure in the “Blue Books” series, but here they are often positioned in depth, in varying configurations, so that some components are out of focus.

For “Sea Change,” Ms. Bartley re-photographed images taken on her daily walks to the beach, while in “Push 2 Stops” she photographed vacant transparency sleeves from her 20 years of commercial studio work. In each series she sets tight parameters, within which she works variations of color, texture, and form. Ms. Bartley will give a gallery talk on Nov. 1 at 2 p.m.

Fifty works from Guild Hall’s permanent collection, including new acquisitions, reflect the museum’s mission to collect work by artists with ties to the East End. On view will be paintings, sculpture, photography, prints, and mixed media, purchased with the support of Guild Hall’s Collectors Circle.

Among the 50 artists represented in the exhibition are Jennifer Bartlett, Jack Ceglic, Chuck Close, Robert Dash, Raphael Ferrer, Eric Fischl, April Gornik, Mary Heilmann, Bryan Hunt, Joe Pintauro, David Salle, Drew Shiflett, and Frank Wimberley.

Christina Strassfield, the museum’s chief curator, will lead a tour of the exhibition on Dec. 6 at 3 p.m.  

New Shows at Halsey Mckay

Halsey Mckay has opened two new shows at its East Hampton gallery space. One, “Inversion Spectrum,” is a solo show of works by Corey Escoto, who uses both analog and digital processes in photography to tease the viewer into figuring out which is which, where the origin of each image lies, and how photography has adapted to contain all of the available technology.

David Kennedy Cutler, Ethan Greenbaum, Mariah Robertson, and Letha Wilson combine forces for “Surface Artificial Matter,” which also deals with the changing nature of photography as a medium, whether as an end in itself or the basis for the exploration of other mediums such as sculpture.

Both exhibitions will be on view through Nov. 16.

Wallace on View in N.Y.C.

On a separate but related note, Ryan Wallace, one of the partners in Halsey Mckay, is showing his own work at Susan Inglett’s gallery in Chelsea through Dec. 6.

Mr. Wallace’s reliefs mine abstraction’s technical and formal properties. The results are explorations of texture, light, and surface tension in a “chromatically minimalist” palette. In his stacked-cube sculptures, he harnesses both Minimalism and Expressionism, “incorporating elements that cannot function in two-dimensional space.”

Incorporating influences from predecessors such as Carl Andre, Sol LeWitt, and Bruce Naumann, the Pollock-Krasner Foundation grant recipient ultimately allows painting and sculpture to co-exist in one piece, sharing a similar language and material.

Bartley Talk

Mary Ellen Bartley will take viewers through her photography exhibition “Leaning Above the Page” at Guild Hall in East Hampton on Saturday at 2 p.m. The artist won top honors at the 2012 Artists Members Exhibition from Lilly Wei, an independent curator, essayist, and critic for Art in America. The talk is free with admission.

Abstraction at Ille

Amagansett’s Ille Arts will open “Life in the Abstract” tomorrow, with a reception Saturday from 5 to 8 p.m.

John Haubrich, Barbara Groot, and Dru Frederick have been brought together for this exhibition by Ms. Groot, who serves as curator. She found consistency in their interpretation of abstract art, rooted in the design background of each. She was a textile designer; Mr. Haubrich is an art director, and Ms. Frederick has worked in art restoration and conservation. How they explore the elements of composition such as mass, geometry, line, and color, is a major theme.

The exhibition will remain on view through Nov. 10.

Speaking of Murals

Jane Weissman, an artist and author, will present “Protest and Celebration: Community Murals in NYC” at the Montauk Library on Sunday at 3:30 p.m. The free slide lecture will look at collaborations between artists and neighborhood groups to beautify the cityscape. The artist, who is also a muralist, was the co-author of “On the Wall: Four Decades of Community Murals in New York City.”

Poetics of Space

Tripoli Gallery in Southampton will open the show “Poetics of Space” on Saturday with a reception from 5 to 7 p.m. The exhibition will feature work by Jonathan Beer and Michael Chiarello.

Mr. Chiarello, who lives and works in East Hampton, makes sculptures out of steel that are open and welcoming. Mr. Beer paints both abstractly and realistically within the same canvas.

The work of both artists, whose different yet kindred spatial concerns balance each other aesthetically, according to the gallery, will be on view through Nov. 24.

Bateman’s Abstractions

Roisin Bateman’s moody and colorful abstractions will be on view at Peter Marcelle Project in Southampton beginning Saturday, with a reception from 6 to 8 p.m.

Based in Sag Harbor for the past 25 years, Ms. Bateman actually hails from western Ireland; she attended art school in Belfast. Her early impression of that country’s landscape, particularly of rocky terrain and the sea as well as the soft light, were translated into the same components on the East End. They come to fruition in abstraction that breaks the elements down to their essence and manages to evoke much more than their surface would at first indicate.

After the opening, the gallery will be open “by chance or appointment.” The show will remain on view through Nov. 16.

Michele Stuart in Manhattan

An exhibition of Michelle Stuart’s work called “Silent Movies” will be on view at the Leslie Tonkonow gallery in Chelsea from Saturday through Dec. 2.

An early practitioner of a 1960s genre known as “land art,” Ms. Stuart’s artistic practice has grown to include multi-paneled works incorporating photography, wax, plant life, and other mediums, primarily in an eclectic and allusive grid-format.