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.”

Oren Moverman, who wrote and directed “Time Out of Mind,” a Hamptons International Film Festival Spotlight Film, engaged in a wide-ranging conversation about his approach to filmmaking with Joe Neumaier, film critic for The New York Daily News, on Saturday. Rowdy Hall in East Hampton was the setting.

“Time Out of Mind” stars Richard Gere as George, a homeless man first encountered as a contractor (Steve Buscemi) rousts him from his squat in an empty New York apartment building. George protests that he lives there, so convincingly that we almost believe him. “The movie starts with Steve’s voice, which is so specific to New York,” said Mr. Moverman. “He’s not a bad guy, but the building is full of garbage that has to be removed, and George is part of the garbage.”

The film follows George as he shuttles between living on the streets and sleeping in shelters, often looking as if he isn’t sure where he is or why, as the people and sounds of the city swirl around him.

“The idea behind the film was to look at something we, and I include myself, avoid all day long in a big city,” said the director. “We wanted the movie to be from the perspective of people who are distracted and not really involved in what’s happening all around them. We had the whole city moving around George. In a way it’s a collection of photographs, where we sometimes get close to the subject and sometimes move away.” Mr. Moverman said he was influenced by Saul Leiter, a pioneer New York photographer who shot the city through windows, reflections, and obstructions.

One of the initial concerns was whether Mr. Gere would be recognized on the streets. Though the decision had been made to shoot with long lenses, thereby keeping the crew at a distance from him, neither the actor nor the director knew what was going to happen.

“So, as a test, we set up to do a shot of me panhandling in Astor Place,” Mr. Gere told the audience after a screening of the film. “It wound up as one of the last scenes in the film. I started out with the cap down low, I was in character, but I was also a little fearful about what the situation would be.” For 45 minutes, the actor held out a paper cup and asked passers-by for change.

“People were making decisions from two blocks away not to engage me. It was a profound experience, a very freaky experience, for these guys behind the camera as well as for me. Nobody made eye contact. I got maybe a buck and a quarter. Nobody saw Richard Gere there. It gave me a very deep insight of the metaphysical world of someone on the streets. They’re not part of the structure at all. They’re radioactive.”

The film creates the urban environment and puts the audience in the position of paying attention to something it’s used to avoiding. “My experience is that you begin to discover the movie when you start shooting it. The sound at a certain point became the city, and we treated the sound design like the score of the movie,” said Mr. Moverman. “We separated the sound and made it as surround as possible, with fragments of conversation, music, noise — an assaultive soundscape.”

His films, which include “The Messenger” and “Ramparts” as writer-director and “Jesus’ Son” and “I’m Not There” as writer, focus on character. “I’m interested in character much more than stories. I find stories quite boring. I write with a lot of empathy for the characters, because you’re developing an intimate relationship with the character when you write it. When writing, I never see an actor, I just see characters.”

Mr. Moverman grew up in Israel and came to New York City in 1988 determined to make films. He decided to teach himself screenwriting by adapting a collection of short stories. Years later, he met Elizabeth Cuthrell, who was starting a production company with David Urrutia, both of them actors. She invited him to join them in adapting Denis Johnson’s book of short stories, “Jesus’ Son.”

“The three of us, Elizabeth, David, and I, didn’t know what we were doing. I didn’t know Denis Johnson had a huge following, including a celebrity following, so as the project took shape a lot a great actors wanted to be involved.” The film was well received by critics, including Robert Ebert, who wrote, “ ‘Jesus’ Son’ surprises me with moments of wry humor, poignancy, sorrow and wildness. It has a sequence as funny as any I’ve seen this year, and one as harrowing, and it ends in a bittersweet minor key, as it should.”

“The Messenger,” Mr. Moverman’s first film as writer-director, starred Woody Harrelson and Ben Foster as soldiers telling next of kin that their loved ones had been killed in Iraq. “The biggest challenge with my first film as director, as with every film since, is to get people not to think about the way films are supposed to be made but to think about the ways we can make them.”

As a writer, much of his work deals with identity, for example “I’m Not There,” a biopic about Bob Dylan directed by Todd Haynes, “that really isn’t a biopic.” When Mr. Haynes proposed the idea, Mr. Moverman rejected it because “it will be a movie all about casting, how did you get a guy who looks like Dylan, sounds like Dylan. I suggested he just pick 10 people, none of whom are Bob Dylan but are aspects of him, his career, his influences, and just play with that. Todd looked at me and said, ‘That sounds like a Todd Haynes film.’ ” Among the “Dylans” are Cate Blanchett, Ben Wishaw, Christian Bale, Marcus Carl Franklin, Heath Ledger, and Mr. Gere.

“Love and Mercy,” a film about Brian Wilson and the Beach Boys, directed by Bill Pohlad and written by Mr. Moverman, premiered last month at the Toronto Film Festival. Split between the Brian Wilson of the 1960s who produced “Pet Sounds,” played by Paul Dano, and the 1985 post-breakdown Wilson (John Cusack), it, too, is an unconventional biopic. “We got to go to the studio where they recorded ‘Pet Sounds,’ put together the group of studio musicians, and re-recorded ‘Pet Sounds’ with Brian Wilson there,” said Mr. Moverman.

Both he and Mr. Gere hope to do a lot of outreach with “Time Out of Mind,” to bring attention to the issue of homelessness. “Richard was trying to make a movie about a homeless guy for 10 years,” said the director. “He’s on the board of the Coalition for the Homeless. He lives in that world and cares deeply about it. We hope the reception for the film will allow us to take it as far as we can.”

The Parrish Art Museum in Water Mill will open its Salon Series of classical piano concerts with the Lysander Piano Trio on Friday, Oct. 10, at 6 p.m. Due to the past popularity of the series, a second performance by the trio will take place on Oct. 11 at 2 p.m. Each concert will be followed by an opportunity to meet the artists.

The trio — Itamar Zorman on violin, Michael Katz on cello, and Liza Stepanova on piano — won the 2012 Concert Artists Guild Victor Elmaleh International Competition. Based in Manhattan, the ensemble performs at major venues in the city as well as around the nation.

The program will include selections from “Four Seasons in Buenos Aires,” by the Argentinian tango composer Astor Piazzolla; Circulo, Op. 91, by Joaquin Turina, and Piano Trio No. 4 in E minor, Op. 90 (“Dumky”) by Antonin Dvorak.

Subsequent concerts will feature William Hobbs (Oct. 17 and 18), Andrew Staupe (Oct. 24 and 25), and Sandro Russo (Oct. 31 and Nov. 1). Tickets are $20, $10 for members.

Bay Street Theater in Sag Harbor will hold an audition for children 8 to 12 years old for its November production of “To Kill a Mockingbird” on Monday.

The audition for the Literature Live! production, directed by Joe Minutillo, will take place from 4:30 to 6 p.m. Performers of all ethnic and racial backgrounds living within 50 miles of Sag Harbor have been encouraged to attend. Performance dates are Nov. 5 through

Bay Street Theater in Sag Harbor will kick off Columbus Day weekend on Friday, Oct. 10, at 8 p.m., when Judy Carmichael and her quartet will perform music from “I Love Being Here With You,” her first all-vocal CD. One of the world’s leading interpreters of stride piano, Ms. Carmichael will sing standards by Peggy Lee, Irving Berlin, George Gershwin, and others from the Great American Songbook. Tickets are $45 for side seating, $55 for center, while $75 includes admission to an after-party with the artist.

To hear Anne Seelbach talk about the painting, stencils, and bas-relief collages she’s been doing recently — “to bring awareness of the effects of industrial and chemical pollution on the marine environment” — one might easily conclude that she has become political, but it is not the case. “I am first an artist, not an activist,” she said at her Sag Harbor studio, adding, however, that “it is also true that I hope to bring awareness to nature as I see it.”

Ms. Seelbach is interested in the innate response of the natural world to the rotation of the earth around the sun and the resulting change of seasons — for example, the yearly mating of horseshoe crabs during the summer solstice, or the green shoots arising from the cold earth toward the end of winter — and in the artificial contaminants and chemicals that are having such a destructive effect on our environment. She has moved from representational depictions of sea life to more abstract ones, such as paintings in which plastic mesh debris looks like scales on the fish.

She has been peripatetic from adolescence, when her family moved from Michigan to Bronxville. She remembered visiting her grandparents every summer as a young child at Portage Lake in Michigan, which may be why, when invited to visit a neighbor’s house in Sag Harbor, she found the East End so familiar. She fell in love with the water and the village. “It was so simple here then, cosmopolitan but not pretentious.”

Bringing out a painting from the early 1950s of a beach scene, Ms. Seelbach said she has been making art all her life, starting when her best friend was given a set of oil paints and she was hooked by “the colors and the smell.” Her mother found a Saturday class for her, as her Michigan public school had no real art instruction, and she went on to earn a B.A. at New York University and an M.F.A. from Hunter College, followed by a painting fellowship at Radcliffe’s Bunting Institute.

When she found her house and the studio she now uses, her landlord, a contractor, covered its cement floor with plywood and two layers of insulation underneath, making it possible to use in the winter.

A while back, Ms. Seelbach went to the dock on Noyac Road, lay down, looked at the water, and saw a fish that looked “like a pencil, with an eye in the middle of its body.” She’d been reading about mutations in nature resulting from pollution, and her interest was sparked.

As time went on, she said, such variants seemed to be moving closer and closer to home, and her paintings changed to reflect it, becoming more abstract. Then she found herself wondering if she could make the works more accessible to the viewer — “less squished in by the mat, the glass, and the frame.”

She was painting on paper and canvas, throwing the paper on the floor and painting the pieces, then reassembling them in a collage. The process made the work more accessible but also more fragile, a tradeoff that, she said, she is willing to make.

For now, Ms. Seelbach will continue exploring and experimenting with low bas-relief and subject matter connected to sea life. She has exhibited a lot this year, for which she is grateful, even though “there is so much involved in the business end that I’m thrown out of my routine.”

The solution? “Now it’s time to shut that curtain and come in here and putter about.” 

The minimal world of Mary Ellen Bartley has been in evidence in group and solo shows around the country and closer to home at the Drawing Room in East Hampton and the Parrish Art Museum, but her first New York City solo exhibition featuring her “Paperbacks” series at Yancey Richardson Gallery is something of an event.

In an intimate room, a well-edited selection of nine of her works hangs with space to breathe on the walls. It could have been tempting to use her minimal compositions as an excuse to pile on the work, but it was very wise to let simplicity and purity draw viewers into the exhibition. Once there, the grouping offers plenty to contemplate in terms of its conceptualism, structure, and use of light and shadow.

The photographer has been taking pictures of paperback books for a few years now, but it is a series she often returns to, “a muse, something that would keep my interest and I could go back to and look at differently,” she said in The Star in 2012.

Attracted to its geometry initially, Ms. Bartley plays with Conceptualism in denying the book’s actual function, to convey narrative and information. Yet, the books have also become a true still-life subject, serving a classical function as memento mori at a time when books on paper have become outmoded or even archaic with the rise of digitization.

But in this room, it is the formal qualities that take precedence. Printed at a standard 16 by 22 inches with a horizontal orientation, the format’s sameness emphasizes the differences between works, which are untitled and distinguished only by number.

Rather than use the book’s showier components such as covers or spines, her focus is on the base, top, and side pages in groupings that might be stacked or placed side to side. Sometimes she constructs separate piles, or skews the placement of the books so that they take on totemic qualities, like the mysterious rock formations of ancient cultures. The diffuse and natural northern light that the photographer uses to take her pictures softens the hard edges enough to invite viewers in, even when the books take up the front of the picture plane, effectively locking one out of it.

What can be startling is how different each book looks, whether it is the shape, width, or even the color and quality of the pages. Most of her images portray pristine, if sometimes discolored, sides, tops, and bases. In some works, however, she introduces remaindered or used books, which have the black marker line that is a sign of their status. When she incorporates those into the composition, typically just one or two shuffled into the deck, other associations emerge, moving from the realm of Giorgio Morandi’s still lifes of bottles and Rachel Whiteread’s casts of negative space to Barnett Newman’s zips.

The works on view are either some of her earliest from five years ago or from this year. At a time when much art seems to take for granted the visual saturation we confront every day in our interactions on a computer screen, Ms. Bartley reins it in, instead of competing with it. This makes experiencing her images as gratifying as reconnecting with a book in its more traditional role to impart information or a story. In the second dimension, its tactile qualities seduce viewers, reminding them of an intimacy so often missing in digitized interaction.

The exhibition is on view through Oct. 18. A solo exhibition, “Mary Ellen Bartley: Leaning Above the Page,” will open at Guild Hall on Oct. 25. 

Landscapes at Ashawagh

Plein Air Peconic will return to Ashawagh Hall in Springs this weekend with “Land, Sea, Sky,” paintings by 11 East End artists whose work features the natural spaces of the region conserved by the Peconic Land Trust, which will receive a percentage of all sales.

The exhibition will be open on Saturday from 10 a.m. to 8 p.m., Sunday from 10 to 5, and Monday from 10 to 4. A reception will take place Saturday from 5 to 8.

Techspressionism Rising

Colin Goldberg will bring his unique form of abstract art, inspired by the New York School and realized through the use of technology, to Glenn Horowitz Bookseller in East Hampton this weekend.

The Southampton-raised and Greenport-based artist was an early adopter and assimilator of the graphic capabilities of computers, starting before the dot-com era and continuing through it. He draws on computer tablets, devising forms and shapes from his own flowing lines, and prints them on gesturally painted backgrounds inspired by action painters and the calligraphy of his half-Japanese heritage. Mr. Goldberg was a grant recipient from the Pollock-Krasner Foundation last year.

“Colin Goldberg: Techspressionism” will open today, with a reception on Saturday from 6 to 8 p.m. It will run through Nov. 11.

New at Nightingale

“Proximity Game,” an exhibition of work by Brian O’Leary and Gus Yero, will open at the Sara Nightingale Gallery in Water Mill with a reception Saturday from 6 to 8 p.m. and continue through Nov. 17.

Juxtaposition figures prominently in each artist’s paintings. Mr. Yero, who lives in New York City and East Hampton, activates his abstract canvases when he applies one color next to another or juxtaposes different painting styles within a particular work.

Mr. Leary, a Sag Harbor artist, creates crisp, pristine works of tar and oil on wooden panels, typically combining radically different patterns and surfaces by assembling the individual panels into larger works.

The installation will play with juxtaposition as well, by mixing works from both artists within the gallery without regard to likeness or authorship.

Weavings at Marder

Silas Marder Gallery in Bridgehampton will open “Louise Eastman: Loop Holes” with a reception Saturday from 5 to 8 p.m., with a jazz trio led by Peter Waltrous playing from 5 to 7. The exhibition will run through Nov. 8.

Ms. Eastman, who divides her time between New York City and Sag Harbor, creates large-scale weavings that unflinchingly resemble the colored woven potholders popular in the 1950s. These works combine colored strips of natural wool, acrylic wool, and felt, into textured three-dimensional patterns in which dangling strings and knots are deliberately left visible.

East End Abstraction

“Local Abstraction,” an exhibition of work by 16 artists, will be on view at Peter Marcelle Project in Southampton from Saturday through Oct. 26. A reception will be held Saturday from 6 to 8 p.m.

The works, which constitute a cross-section of more than 60 years of East End art, are by Jennifer Cross, Elaine de Kooning, Miriam Dougenis, Christopher Engel, Eric Ernst, Kimberly Goff, Tracy Harris, Giancarlo Impiglia, Jon Mulhern, Alfonso Ossorio, Jacob Ouillette, Amy Pilkington, Jackson Pollock, Barbara Press, Frank Wimberley, and Gavin Zeigler.

Photographs at Tulla Booth

“Gallery Favorites Fall 2014” is running now through Nov. 23 at the Tulla Booth Gallery in Sag Harbor, with a reception scheduled for Saturday from 6 to 8 p.m. New and classic photographs by Daniel Jones, Blair Seagram, Herb Friedman, Eric Meola, Stephen Wilkes, and Ms. Booth are on view.

“Women Painting Women”

“Women Painting Women” will open Saturday at Richard J. Demato Fine Arts in Sag Harbor and continue through Nov. 10. A reception, to be attended by more than 20 of the participating artists, will be held Saturday from 6:30 to 8:30 p.m.

The 28 artists in the show were selected from more than 250 submissions. Those attending the opening will discuss their styles, their techniques, and what motivates them.

Linda Stein on the Road

“The Fluidity of Gender,” an exhibition of sculpture by the peripatetic artist and activist Linda Stein, is on view at the HUB-Robeson Galleries at Penn State University through Nov. 30. The core of Ms. Stein’s work addresses issues of empowerment through gender justice, and she accompanies the traveling exhibition with lectures, performances, and catalogs.

Ms. Stein, who has a house in East Hampton, was interviewed last month on NBC’s “News 4 at 7” about her experience during 9/11 and the influence of that day on her art. She also discussed her work on CUNY-TV’s “Arts in the City” on Sept. 12.

The simple yet elegant presentation of works by Hiroshi Sugimoto at the Tripoli Gallery in Southampton begins at the entrance to the gallery. Like the restrained, masterly crafted boxes he makes for his glass sculptures, the gallery has been turned into discreet packaging for the jewels within its walls.

The exhibition begins out on the street, where just the small letters of the artist’s name are apparent on the introductory wall. A passageway leading into the gallery reveals a single photograph in the back room, but the view confounds any other effort to see the show without entering.

Once inside, a glass sculpture from the artist’s “Five Elements” series beckons. The beautifully stacked shapes would be enough to intrigue and admire, but they contain an added enhancement, namely a miniaturized view of one of the images of “Seascapes‚” the series that hangs on the walls of the back gallery.

Tripoli Patterson worked with the artist and his representatives, who offered precise instruction on the installation. Images of the same body of water must hang together, he was told, and very little of the show should be revealed until inside the gallery. It required a reconfiguration of space, which not only works marvelously for the show, but should serve the gallery well in the future.

The first room features the gallery’s desk behind a wall, with a view out the side window and the single glass sculpture, “Five Elements: Boden Sea, Uttwill (1993),” an image taken that year and made into a sculpture in 2011. The piece is one with its pedestal, not merely the optical glass that holds the image and its pagoda-like top, but the support of wood and steel that the artist designed for the sculpture. It is a rough but ingenious base, underlining the object’s preciousness without being precious itself.

The photographs in the next room of the Yellow Sea, the Mediterranean, and Lake Superior, cover over a decade of production. Only eight in all, they are a study in purity. For Hamptons International Film Festival-goers who might be visually overstimulated by day three, this Zen-like exhibition will be the equivalent of staring into the middle distance, but much better. The synced horizon lines and repetitive imagery are a rest to the eyes, but offer volumes to consider.

Repetition allows one to slow down and really see the objects presented. The viewer must pause to take in the differences between them. It could be a blurred horizon line, from the haze or fog that may have been present on the day the artist perched himself on a cliff to take the photos, or the patterns of the ripples on the water. There is much to see in this minimal landscape.

It is a boiling-down of academic principles as well as a certain realm of abstraction that the photographs so serenely represent. The processing of his film is impeccable and the gelatin-silver emulsion is given its highest and best use in the prints, where each detail is so subtly and effectively produced. One leaves the show with a sense of calm, having experienced both pure intellectual engagement and aesthetic pleasure.

The show is on view through Oct. 20.