The Southampton Cultural Center’s Center Stage Theatre series will open next Thursday at 7:30 p.m. with “The World Goes ’Round,” a program of the greatest hits of John Kander and Fred Ebb, the songwriting team known for their work on Broadway and in motion pictures.

The evening will include music from “Chicago,” “Cabaret,” “Liza With a Z,” and “Kiss of the Spider Woman,” as well as songs from the films “New York, New York” and “Funny Lady.” Performances will take place Thursdays through Sundays at 7:30, through Nov. 9. Tickets are $25, $23 for senior citizens on Fridays, and $12 for students under 21 with identification.

The Parrish Art Museum’s Salon Series will feature two performances by William Hobbs, a classical pianist, tomorrow at 6 p.m. and Saturday afternoon at 2.

The concert will feature Night Music Op. 109 for flute, clarinet, and piano by Lowell Liebermann, an American composer who will attend the performance. Claire Temin Bird, flute, and Anna Temin Meisel, clarinet, will perform the work with Mr. Hobbs.

The program will also include piano transcriptions of works by Chopin, Liszt, Stravinsky, and Bach. Tickets are $20, $10 for members.

The Hamptons International Film Festival’s “A Conversation With Patricia Clarkson” on Friday delivered more than advertised. The actress, whose film “Learning to Drive” was one of the festival’s Spotlight Films, provided her Bay Street Theater audience with a riveting, hourlong performance filled with humor, insight, self-revelation, and a bounty of anecdotes and observations culled from almost 30 years as an actress, all elicited with finesse by the film critic Thelma Adams.

Directed by Isabel Coixet, “Learning of Drive” is the story of Wendy Shields (Ms. Clarkson), a literary critic whose husband unexpectedly leaves her after 20 years, and Darwan (Ben Kingsley), a Sikh driving instructor and part-time cab driver, who is reluctantly facing an arranged marriage to a woman from his native village in India.

For Wendy, conquering her fear of driving becomes a metaphor for achieving independence, and she resists both through much of the film. A chance encounter brings her into contact with Darwan, who convinces her to let him teach her.

The film was a long time coming to fruition. “I was attached to it for at least eight years, dog years, I think,” Ms. Clarkson said. “It’s a beautiful film based on a gorgeous Katha Pollitt short story that was published in The New Yorker, and Sarah Kernochan wrote a wonderful script.” She and the producer Dana Friedman were like “two dogs with a bone,” convinced the film could and should be made.

Asked why the part of Wendy was special, Ms. Clarkson said, “I’ve been fortunate to play many beautiful characters on film in supporting parts and a few leading parts, but what I always want as an actress is the part that requires the greatest emotions, the greatest stretch, that requires a new breadth. Wendy demanded every bit and more. It’s one of those parts that, as a woman, we long for. Unfortunately, they’re few and far between.”

Ms. Clarkson talked about her first film role as the wife of Eliot Ness (Kevin Costner) in Brian De Palma’s “The Untouchables.” Just out of Yale School of Drama, she went to read for Lynn Stalmaster, one of the industry’s pre-eminent casting directors. “I went in looking kind of glamorous. He told me to leave, remove my makeup, get rid of my fancy dress and hairdo, and then come back.” 

She returned in a borrowed gingham dress, no makeup, and her 1980s big hair “that barely fit through the doorway.” She made a joke about her appearance to Mr. De Palma. “We started laughing about it, and he wound up reading with me. Brian was amazing. I’d never been on a set before, and there I was in a movie with Kevin Costner and Robert De Niro. The first day Brian asked me to do 30 takes to see where I hit my stride, whether I reached it early or late. He learned I was early, and that by the 30th take I’m just not there anymore.”

Later in her career she worked with Woody Allen on “Vicki Cristina Barcelona” and “Whatever Works.” “Woody’s quite tough. He doesn’t direct you often. He lets you be, which I find quite amazing and freeing. He’s not going to step in and nitpick. But you do have to be 1,000-percent prepared. He’s very quick, he does not suffer fools, he wants to shoot it, he wants you to get it right, and he wants you to be really good.” She said that she and Larry David almost had breakdowns during “Whatever Works” because they had so many lines and knew they couldn’t stop. “You have to be present with your other actors. It’s like theater in that Woody uses long, wide shots.”

Martin Scorcese, whom she worked for on “Shutter Island,” was a different type of director. “He’s moment-to-moment, he’s feral, he’s brilliant.” She wasn’t given a script to read at first. “They just said, ‘It’s you and Leo [DiCaprio] in a cave.’ ” She paused, then repeated, breathlessly, “Just me and Leo in a cave. I can do this.” She said Mr. Scorcese genuinely loves actors, and “he still has fresh eyes and a fresh heart.”

Acting is one of the few professions in which you can keep growing, Ms. Clarkson said. “At 54, I do better than I did things when I was 30. Acting is a muscle, you get stronger.” That doesn’t make it less daunting. “As you age, it’s always frightening when you’re doing scenes or characters that require the darkest parts of you, but if it isn’t frightening, you’re not doing it the right way, and you should get out of the business. It’s like that great Tom Waits lyric, ‘If I exorcise my devils, well the angels might leave too.’ ”

Mr. Clarkson began rehearsals on Monday with Bradley Cooper and Alessandro Nivola for “The Elephant Man,” a revival of the Bernard Pomerance play that will have its first preview at the Booth Theater Nov. 7. “I haven’t been on Broadway in a long time. I’m a theater-trained actress, so it’s part of my DNA, but it’s daunting.” Mr. Pomerance’s daughter was in the Bay Street audience.

She is also attached to a film project to play Tallulah Bankhead. “What fool wouldn’t want to play Tallulah Bankhead?” she asked, deploying, not for the first time, a particularly husky Southern accent. Reflecting on her career, she said, “Now I have more options than I used to. I can pick and choose. I try to read everything that comes my way, but I’m looking for a part that’s going to take me to a place I haven’t been or take me to a new height, or a director I long to work with. For the most part I look at the script as a whole. Because as great as your role might be, you’re part of a whole.”

The Telecaster, an iconic electric guitar that has barely changed in design since the Fender Musical Instruments Corporation introduced it in 1951, will be celebrated on Saturday at 8 p.m. at Bay Street Theater when three renowned guitarists will pay tribute to their favored instrument.

“Masters of the Telecaster” will bring together the musicians G.E. Smith, Jim Weider, and Larry Campbell, each associated with the solid-body guitar preferred by innumerable rock ’n’ roll and country players. The musicians are also known for their work with music legends like Bob Dylan, the Band, and Roger Waters.

“It was the guitar that made all the rock ’n’ roll stuff,” Mr. Smith, who typically wielded one of his many Telecasters while serving for a decade as the bandleader on “Saturday Night Live,” said. “It’s kind of the primal electric guitar. So we wanted to do something featuring all the sounds the Telecaster can make.” The Amagansett resident’s affection for the instrument is further evidenced by the G.E. Smith Telecaster, a model offered in Fender’s Artist series.

Mr. Smith and Mr. Weider have long been acquainted and have performed similar tributes to the instrument and guitarists who preferred it, such as the late Roy Buchanan. “He’s a big Roy Buchanan fan,” Mr. Smith said of Mr. Weider. “Roy played the Telecaster, and I have and Jim has.”

“I love playing with G.E. He’s a fantastic musician, and really into Roy and the Tele,” Mr. Weider said. “We were both inspired by players like James Burton, Steve Cropper, Roy Buchanan, and Jeff Beck in the Yardbirds. We had this in common, and we are both roots rock players — him with Dylan, me with the Band. That comes out in our playing.”

Mr. Campbell, who along with Mr. Weider was a longtime collaborator with Levon Helm, the Band’s late drummer and vocalist, is a Grammy Award-winning musician and producer. Like Mr. Smith, he has also performed extensively with Mr. Dylan. “He’s a great musician, plays all kinds of instruments, and brings a lot to a show,” Mr. Smith said. One of the best shows I’ve ever played in my life was with Larry.”

With the arrival of the electric guitar — the Telecaster being the first to gain mass acceptance — rock ’n’ roll soon followed. While countless hopefuls took up the instrument, manufacturers worldwide developed their own iterations of the electric guitar, some revered and lasting, others destined for obscurity. In 1954, Fender introduced the Stratocaster, a sleeker, “space age” evolution that ultimately surpassed its antecedent in popularity. Gibson’s Les Paul is another iconic solid-body model esteemed by professionals worldwide.

But a guitarist’s choice of instrument is a personal one, determined by subjective criteria and, often, the players who influenced him or her. “For me,” said Mr. Smith, who at one time owned some 700 guitars, “the Telecaster is a much more versatile instrument” than its younger brother, the Stratocaster. “It’s a very fat sound and has been on thousands of records.”

The Telecaster, Mr. Weider said, “just sounds bigger and thicker to me. I like ’50s Teles.” In 1971, he found a 1952 Telecaster in California. “I said, ‘This is the only guitar I’m ever going to play,’ and that’s all I ever did play, all over the world.”

The influence of Mr. Buchanan, whose 1988 performance at the Stephen Talkhouse in Amagansett is still talked about in the hamlet and beyond, cannot be overstated, Mr. Weider said. “He could take a Tele, which is a block of wood — you’ve got to kill yourself to get a note out of it — and do feedback and harmonics, and could play psychedelic like Jimi Hendrix. It was all in his volume control and tone.”

As the South Fork settles into autumn, Mr. Smith, a resident since 1981, was also motivated to encourage more cultural events in the off-season, he said. “I wanted to try to get something going in the winter out here, and if we can get a couple hundred people to come to the show, the folks at Bay Street will say, ‘This works,’ and start bringing in other shows. You know how it is in February and March — it’s nice to have something to do.”

Randy Ciarlante, who frequently played with the Band, and Byron Isaacs, of the Levon Helm Band, will accompany the guitarists, who will perform together. Taylor Barton, a musician and Mr. Smith’s wife, will open the show. Ms. Barton’s most recent release, “Everybody Knows,” was featured in The Star in 2013.

Mr. Weider promised a “three-gun salute” on Saturday, “a night of really cool guitar music, everything from Roy Buchanan to blues to rockabilly to country-rock, but all roots-rock, Americana music. We’re gonna shake the shingles off that place.”

Tickets to “Masters of the Telecaster” cost $35 and are available by calling the Bay Street box office in Sag Harbor or at baystreet.org.

The Shelter Island Friends of Music will present Orion Weiss and Anna Polonsky in a free, four-hands piano concert on Sunday at 3 p.m. at the Shelter Island Presbyterian Church.

Mr. Weiss and Ms. Polonsky, who are married, perform separately and together. She is widely in demand as a soloist and chamber musician and has performed at venues such as the Amsterdam Concertgebouw, Vienna Kon­zerthaus, and Carnegie Hall.

He has performed with most major U.S. orchestras including Chicago, Boston, and Philadelphia. As a recitalist and chamber musician, he has appeared at Ravinia, Seattle Chamber Music Festival, and Chamber Music Northwest.

In an interview published in U-T San Diego, Mr. Weiss said, when asked about the pleasures of four-handed music, “First of all, it’s amazing music and it’s a lot of music that people don’t know. There are masterpieces that people have written for this odd thing of two pianists at one piano.”

Also on Shelter Island, bluegrass and traditional American music will be on offer as part of the Plant & Sing festival at Sylvester Manor Saturday from noon until 10 p.m.

The day will begin with the planting of garlic and the harvesting of fall crops, after which the music will get into full swing on the waterfront lawn. This year’s performers will include the Wainwright Sisters, the Deadly Gentlemen, Eastbound Freight, Edith & Bennett, the Ed Howe Bluegrass Band, and Jeff Davis & Friends.

Scott Chaskey, Megan Chaskey, Douglas Decandia, and Brad Davis are a few of the writers who will be on hand. Contra Dance with Perpetual E-Motion will start at 7 p.m., followed by songs and a late-night jam.

General admission is free for children 12 and under. The tariff for adults is $50, $45 for veterans, students, and senior citizens. V.I.P. tickets for a meet-the-artists brunch are $125, $45 for kids.

Like them or hate them, pop-ups have become commonplace on the South Fork. From Whole Foods to Shuko, from Dash to Joe Fresh, shops, restaurants, and even art galleries have been sprouting up every summer since Nobu opened at the Capri motel in Southampton in 2011.

“The App Store” in Sag Harbor will close at the end of business on Sunday after a two-month run at GeekHampton on Bay Street, but it can’t be accused of trying to make a quick buck.

“The whole thing is really a sculpture,” said Evan Desmond Yee, a 24-year-old artist selected for one of this year’s Parrish Road Show projects. The program was initiated in 2012 by Andrea Grover, the museum’s curator of special projects, to invite artists to create off-site installations that would bring art into the community and engage a wider audience.

“The App Store” was constructed by Mr. Yee and his team as a separate space within GeekHampton. The shop’s products are physical realizations of digital phenomena. “The digital to the physical is a big part of my thing,” said Mr. Yee, “because I think we’re really bridging that gap with all our technology that can sort of consume the world and digitize it.”

Oddly enough, the artist, who lives in Brooklyn but whose father and stepmother are the proprietors of Sag Harbor’s Yoga Shanti, says he doesn’t know a lot about tech. “I wanted to create all this in a way that’s accessible to the average tech consumer, which I am.”

Mr. Yee calls the “iWait Sticker/Magnet” the “wheel of death.” The object is a magnetized vinyl sticker that represents the colorful circular icon that spins on a computer screen while information is loading. “The idea,” he said, “is that you take these things and stick them in spaces where people are waiting.”

When you click on a menu item on Mr. Yee’s website, the icon starts spinning as if the computer is freezing up. “People just sit there and finally walk away,” not realizing the icon has been planted by Mr. Yee to fool them.

Another piece is “timeline,” a book in the graphic style of Facebook whose logo, the letter “t,” is an inversion of the Facebook “f.” The book’s 79 pages correspond to the years of the average American life span. Each page lists the things an average person consumes that year, for example oxygen inhaled, money earned and spent, carbon dioxide exhaled, as well as what has been consumed cumulatively since birth. “It’s based on bad Google statistics,” said the artist.

Mr. Yee grew up in Oakland, Calif., where his mother still lives. He started doing origami as a boy, seriously enough to attend conventions. He began to draw and paint in high school and, “thanks to a really good art teacher,” decided to go to art school. He graduated from Pratt Institute in 2013.

“iFlip” is a piece that has been getting a great deal of attention, according to Mr. Yee. The object is an hourglass housed within the frame of an iPhone. Instead of sand, it’s filled with eight grams of ground-up iPhone. “I wanted to treat it as sort of an urn for an iPhone.”

“Kaleidogram 5S” is a brass device that transforms an iPhone camera into a kaleidoscope. Another piece, “Nocuous Rift,” is based on the virtual reality headset the Oculus Rift. It is essentially a stereoscope, which combines two flat images into a three-dimensional one. When two iPhones are attached and set on camera, the world is seen through the device in three dimensions. “I call them reality goggles, because through them you only see what you would see in real life, but on your iPhone screen instead.”

The “App App” is a sculptural replica of the ubiquitous app icon. The three-dimensional square with rounded corners is made from solid aluminum, milled down, sanded on the sides, routed, and painted. Mr. Yee cut the pieces with a chop saw.

In fact, the artist had to learn everything from InDesign for the timeline book to glass-cutting for the kaleidoscope attachments. For the latter, he had no choice. “Glass-cutters said it would cost me too much money for them to grind such a small amount of glass.” He constructed “Nocuous Rift” from cardboard and duct tape, then cast the object in aluminum, retaining the crude texture of the underlying materials.

Many people have discovered “The App Store” while at GeekHampton, others while walking past. “When people walk by and look in, they wonder what this is. People who know art come in, but so do people who don’t see it as an art piece. I was hoping the two audiences would relate to each other and that the language of the show would reach both.”

The objects in “The App Store” are not only sophisticated transformations of digital phenomena into objects, but also conceptually elegant and consistently droll.

“Gabriel” opens with a shot of a winter landscape just before dawn, its stillness suddenly shattered by the roar of a bus speeding across the screen. A young man in a woolen watch cap and winter coat gazes out the window. He tries harmlessly to engage a little girl who is grinning at him from several rows away. She finally joins him, and they are pretending to be smoking Twizzlers when the girl’s mother rushes up the aisle, snatches her daughter, and drags her back to her seat.

The boy, Gabriel, portrayed by Rory Culkin in a mesmerizing performance, disembarks in a college town and walks to a campus dormitory. He is looking for his former girlfriend, Alice, clutching a battered letter from her.

By the time he leaves the campus, his erratic behavior has frightened two coeds, he has learned that Alice has left for the holidays, and, because he admits that the letter is several years old, we begin to suspect that Gabriel’s relationship to reality is slightly askew.

“Gabriel,” the first feature film by Lou Howe, reveals itself gradually. Gabe, as the boy prefers to be called, has come home from a mental institution, and the reactions of his mother and brother and his own behavior make it clear that he is unbalanced. Gabe is determined to ask Alice to marry him, convinced she will accept, and his family is forced to grapple with the consequences of his obsession.

“I have a close childhood friend who was diagnosed with mental illness during his freshman year in college,” Mr. Howe said. “We’re about the same age, and that was an experience that had and still has a profound effect on me.”

Mr. Howe started trying to understand his friend’s illness by writing first-person journals from a disturbed character’s point of view. “That’s where Gabe came from. I imagined he had been given the assignment by his psychiatrist. Once I started writing, it took on a life of its own and became purely fictional.”

The writer grew up in New York City and attended Harvard. He thought he would be an English major and write fiction, but an introductory video class set him on a different path. “I just fell in love with the process, the equipment, the collaborative nature of it. I took more film classes and fewer English courses and wound up a film major.”

After college, he returned to the city for several years before moving to Los Angeles, where he enrolled in the American Film Institute’s masters program. He started writing the script for “Gabriel” while there, in 2010. The film premiered in April at the Tribeca Film Festival.

Gabe is an edgy, jumpy character, with visible tics that hint at his internal distress. Mr. Culkin’s is a remarkably modulated performance, managing to create tension and keep the viewer on edge without resorting to melodrama or theatrics. With his full lips and sad eyes, he looks at times like a puppy whose masters — his family — are demanding too much from him. He is difficult, frustrating, and, at times, frightening to people he encounters, but Mr. Culkin manages to earn the viewer’s sympathy.

Mr. Howe didn’t write the screenplay with a particular actor in mind, but as soon as his casting director brought up Mr. Culkin’s name, he became excited. “I’ve been a fan of his since he was a little kid working in movies like ‘You Can Count on Me,’ which I loved. Once we met, we really connected on the approach to working together and on the character himself.”

The film moves between New York City and the East End. Gabe’s family lives on the South Fork, and familiar locations range from the Bridgehampton railroad station to the Sag Harbor Variety Store to the South Ferry.

Mr. Howe is no stranger to the region. An aunt and uncle have lived full time in East Hampton for many years, and his wife summered here when growing up. “We were married in East Hampton, so for eight years I’ve been spending a lot of time with my in-laws there. It’s a place that’s very close to my heart, so it made sense to set some of the movie there.”

Mr. Howe got his start on the film with grants from several independent film organizations, including the Sundance Institute and Cinereach in Manhattan. “Then we raised the money privately, starting with family and friends, and it grew from there. It was sort of like targeted crowdfunding.”

“Gabriel” is exactly the film Mr. Howe wanted to make. His brother and an old friend are the two main producers. “We were able to make the movie the way we wanted to, and we were lucky we found investors who agreed with us.”

Mr. Howe intends to keep working as an independent, “but gradually scaling it up. The way we made this is pretty ideal, but as the stories get bigger and the budgets get bigger, it gets harder and harder to do it that way.” He wouldn’t be opposed to a studio project, and he finds current television interesting. So the low-budget, independent route isn’t the only one he would be willing to take — “but it’s my preferred way right now.”

In addition to being part of the festival’s World Cinema series, “Gabriel” is also included in the Views From Long Island category, five films of which one will win a grant of $6,000 from the Suffolk County Film Commission. “Gabriel” will screen tomorrow at 6:30 p.m. at Sag Harbor Cinema and Sunday evening at 8:30 at East Hampton UA 5. 

The Hamptons International Film Festival announced the winners of its jury and special prizes on Monday. The Golden Starfish Narrative Feature award went to “Gett: The Trial of Viviane Amsalem,” written and directed by Ronit Elkabetz and Shlomi Elkabetz. The Israeli film focuses on the male-dominated and sometimes decades-long process required under rabbinical law to dissolve a marriage.

"The Special Need” won the Golden Starfish Award for Best Documentary. Directed by Carlo Zoratti, the film is the story of Enea, who is looking for love in Italy, a difficult task for one who suffers from autism, and his two best friends who set out with him an a journey through Europe.

The narrative jury also awarded a special jury prize for Outstanding Performance by an actress to Ronit Elkabetz in “Gett” and an award for Most Promising Performance by a Newcomer to Jacob Lofland for his role in “Little Accidents.” David Formentin’s short film, “Tznuit” was acknowledged for raising awareness of a socially relevant issue.

Tamara Erde was awarded a special prize by the documentary jury for her achievement in visionary filmmaking for “This Is My Land.” Pavol Pekarcik, Ivan Ostrochovsky, and Peter Kerekes received a special mention for artistic merit for their film, “Velvet Terrorists.” “Once Upon a Tree” earned an award for artistic merit for its director, Marleen van de Werf.

The Tangerine Entertainment Juice Award, which honors an outstanding female narrative director, was given to Sara Colangelo, director of “Little Accidents.”

“Virunga,” directed by Orlando Von Einsiedel, won both the Victor Rabinowitz and Joanne Grant Award for social justice and the Zelda Penzel Giving Voice to the Voiceless Award.

The Wouter Barendrecht Pioneering Vision Award, which recognizes an emerging filmmaker who is a creative risk-taker and is fearlessly dedicated to the craft, was presented to  Peter Strickland, director of “The Duke of Burgundy.”

“Gabriel,” directed by Lou Howe, won the Suffolk County Next Exposure Award, given to a film at least half of which was shot in Suffolk County.

Variety, now it its third year of partnership with the festival, announced its annual 10 Actors to Watch. The rising stars are Kaitlyn Dever, Eve Hewson, Dakota Johnson, Lola Kirke, Zoe Kravitz, Caleb Landry Jones, Jack O'Connell, Tye Sheridan, Jenny Slate, and Miles Teller.

Two awards announced prior to the festival are the 2014 Alfred P. Sloan Feature Film Prize, which went to “The Imitation Game,” directed by Morten Tyldum, and the 2014 Brizzolara Family Foundation Award for a Film of Conflict and Resolution, presented to the directors Ross Kauffman and Katy Chevigny for “E-Team.”

Finally, Joel Schumacher was presented with the Golden Starfish Lifetime Achievement Award in Directing, and Hilary Swank received Variety’s Creative Impact in Acting Award.

This year’s narrative jury was comprised of Patrick Harrison of the Academy of Motion Picture Arts and Sciences, Ingrid Sischy, contributing editor of Vanity Fair, and the photographer Bruce Weber. The documentary feature jury included Lilly Hartley, founder of Candescent Films, Stephen Whitty, current chair of the New York Film Critics Circle, and David Rattray, editor of The East Hampton Star.

For coverage from the film festival, click over to The Daily Grind.

Judy Mauer at Lawrence

“Judy Mauer: NYC Dolls,” an exhibition of work by the New York City street photographer, will open at Lawrence Fine Arts in East Hampton Saturday with a reception from 3 to 5 p.m. It will remain on view through Nov. 5.

Ms. Mauer photographs mannequins in store windows, concentrating as much on the reflections in the glass as on the “dolls.” Her complex layered images are created without double exposures or the use of Photoshop. Each image is exactly what she saw through the lens the moment it was shot.

Gornik at N.Y. Public Library

The New York Public Library will host a conversation between the artists April Gornik and Archie Rand on Wednesday at 6 p.m. in its Stephen A. Schwartzman Building at 42nd Street and Fifth Avenue.

The free talk coincides with the recent publication of “April Gornik: Drawings,” which includes essays by Mr. Rand and Steve Martin, an interview with Ms. Gornik by Lawrence Wechsler, and a musical contribution by Bruce Wolosoff, a composer from Shelter Island.

A question-and-answer session and book signing will follow the conversation.

Eight at Drawing Room

The Drawing Room, on Newtown Lane in East Hampton, is opening a group exhibition tomorrow that presents a dialogue among eight noted artists. The show, on view through Dec. 7, will include paintings of the natural world by John Alexander, gouaches by the Argentine artist Antonio Asis, works on paper by Jennifer Bartlett, and new photographs by Mary Ellen Bartley.

Also on view will be articulated wall diagrams by Chuck Holtzman, wood sculpture by Mel Kendrick, graphic paintings on canvas by Dan Rizzie, and a classic painted lattice construction by Alan Shields.

Paintings at Kramoris

The Romany Kramoris Gallery in Sag Harbor will present works by Joan Tripp and Lutha Leahy-Miller from today through Nov. 17, with an opening reception to be held Saturday from 4:30 to 6 p.m.

Ms. Tripp’s vibrant paintings, which blur the boundaries between realism and abstraction, reflect her interest in space, planets, galaxies, and stardust. She was born in Sag Harbor.

Mr. Leahy-Miller migrated from his birthplace of California to the East End, where he surfs and paints. His work expresses the speed and flow of surfing in stylized, intensely colored two-dimensional images.

Birdhouse Auction

“Bye Bye Birdie,” the 10th annual artist birdhouse auction benefiting Lucia’s Angels, will take place at the Southampton Social Club on Saturday from 5:30 to 8 p.m. More than 100 artists have donated their time and talents to design unique birdhouses that will be auctioned to raise money for various cancer support programs.

This will be the final birdhouse auction, as reflected in its title. Karyn Mannix, who founded and continues to organize the event, said that next year’s would have a different theme.

Ingrid Silva Photographs

“Ingrid. Imagine. Image,” an exhibition of photographs by Ingrid Silva, will be on view at Be Unico Gallery, 3297 Noyac Road in Sag Harbor, tomorrow, Saturday, and Sunday from noon to 6 p.m. daily. A reception will take place Saturday from 6 to 9 p.m.

Ms. Silva has lived near water for most of her life, and her work reflects her experience. Her underwater photographs of female nudes, some shot by day, some at night, are dreamlike. According to the artist, “The water is meant to represent the womb or a space with no presets, where the thought of floating and falling at the same time is possible.”