Bay Street Theater in Sag Harbor will present a new All Star Comedy Show on Saturday at 8 p.m. Once again the evening will be hosted by Joseph Vecsey of the Optimum Cable TV “Unmovers” spots and host of “The Call Back,” a podcast devoted to the art and business of comedy. Richie Redding, Dave Sirus, and Marie Faustin will be the guest comics.

Mr. Redding was picked by the comedian Katt Williams to be the host of his Growth Spurt Tour and the featured act for his Born Again, Again Tour. He has performed at the Barclays Center in Brooklyn and at Madison Square Garden. 

A stand-up comedian who performs regularly in New York City and Los Angeles, Mr. Sirus was nominated for an Emmy Award as a writer for “Saturday Night Live” and has written for “Comedy Central Roasts” and the election special for “Triumph, the Insult Comic Dog” series on Hulu.

Ms. Faustin’s YouTube vlog, “Ms. Reezy,” has more than 13,000 followers, and she has paired with the comedian Sydnee Washington on “S&M,” also on YouTube.

Tickets are $30.

Jack Wilkins, a renowned jazz guitarist, will perform in concert at Canio’s Books in Sag Harbor on Saturday at 5 p.m. A fixture on the international jazz scene since the early 1970s, Mr. Wilkins has collaborated with Chet Baker, Sarah Vaughan, Bob Brookmeyer, and Buddy Rich, among others.

He has recorded many albums, played numerous international festivals, and was awarded a National Education Association grant in recognition of his contribution to the guitar. Mr. Wilkins teaches at the New School, the Manhattan School of Music, N.Y.U., and Long Island University.

Southampton Arts Summer 2014 at Stony Brook Southampton will present four public events during the coming week, starting Saturday at 7:30 p.m. with a free staged reading in the Avram Theater of “Spalding Gray: Stories Left to Tell.”

The reading will feature Mercedes Ruehl, Matthew Klam, Ain Gordon, Stephen Hamilton, and Christian Scheider reading from a script shaped by Kathie Russo, Gray’s widow, and Lucy Sexton, a theater director, from the monologist’s published work as well as from more personal material.

A second free program, “What I Really Want to Do Is Write Plays,” will take place Monday at 7:30 p.m., also in the Avram Theater. There will be readings of selections from original plays by Julie Sheehan, the director of the M.F.A. program in creative writing and literature, and Christian McLean, the Southampton Arts conference coordinator.

A free screening on Tuesday at 7 p.m. of “Let There Be Light,” John Huston’s 1946 documentary about veterans with shell shock, which was censored by the U.S. Army, will be followed by a panel discussion on “The Trauma of War” featuring Masha Gessen, a war correspondent who wrote a book about the jailed Russian protest band Pussy Riot, Adrian Bonenberger, a memoirist and combat veteran, and Benjamin Luft, the director of the World Trade Center health program. Daniel Menaker will moderate the discussion, which will take place in the Duke Lecture Hall.

TSR: The Southampton Review will offer up “Fish Out of Water,” the East End debut of the Moth, on Friday, July 18, at 7:30 p.m. in the Avram Theater. the Moth: True Stories Told Live is a New York City nonprofit organization dedicated to the art and craft of storytelling. Moth workshops help storytellers shape their stories and share them with wide-ranging audiences.

“Fish Out of Water” will be hosted by Adam Gopnik, who has been writing for The New Yorker since 1986, with stories by Ted Conover, Tara Clancy, Wendy Suzuki, Meg Wolitzer, and Simon Doonan. Tickets cost $50 and can be ordered at themoth.org.

Southampton Arts Summer includes, in addition to its public programs, graduate-level courses in literature, theater, film, and children’s literature. More information about the programs can be found at stonybrook.edu.

“Villa Diodati,” a film of a chamber opera by Bank Street Films and produced by Gabriel Nussbaum, will be previewed at the Montauk Library on Saturday at 7:30 p.m.

The plot revolves around the fateful summer of 1816, when Mary Shelley penned “Frankenstein” while staying in Geneva at the Villa Diodati with Percy Shelley and Lord Byron. An American couple on a Swiss train find themselves thrown into the past and into the lakefront villa on a dreary summer day when Mary Shelley is creating her monster.

Mira J. Spektor wrote the music and Colette Inez wrote the lyrics, which are also taken from the works Lord Byron, Mary Shelley, and William Wordsworth. Those performing the opera include Hillary Schranze, Angela Leson, and Rachel Zatcoff, all sopranos, as well as Rachel Arky, a mezzo, Mike Longo, a tenor, and Jeremy J. Moore, a baritone.

The film will be followed by a discussion with Mr. Nussbaum, Ms. Spektor, and the stage director of the opera, Rob Urbinati.

Ms. Spektor is a composer and lyricist of chamber music, opera, and musicals, including “Giovanni the Fearless” with Carolyn Balducci, the Montauk Library’s program director. She has also written film scores and recital and cabaret songs along with music for theater, film, and television. Mr. Urbanati is a playwright, screenwriter, and director, whose credits include Eric Bogosian’s “Griller” for the Lincoln Center Director’s Lab. Mr. Nussbaum, a part-time resident of Amagansett, is a director and actor who, along with his wife, Elizabeth Wood, make films through their company Bank Street Films.   

When talking with young people, Paul Davis is quick to emphasize that becoming an artist isn’t so much about natural-born talent, but rather, how much you’re willing to apply yourself.

Looking at a handful of childhood drawings one recent morning, Mr. Davis acknowledged how far he’s come since the early stick-figure drawings of his youth. He also hoped to clear up any misconceptions.

“When people want to become artists, they think they have to have some magical quality already inside them,” Mr. Davis said in the living room of his house on Rector Street in Sag Harbor. “What they don’t generally understand is just how much nurturing and care that it takes.”

Never content to work in just one medium, Mr. Davis, now 76, has spent his career pouring his far-reaching talent into a wide array of different projects, working as a painter, illustrator, and graphic designer — often simultaneously.

He has lived in Sag Harbor, which he considers a refuge from the distraction of New York City, for nearly 50 years. “I think I can produce more work here than I can in the city. But it can get distracting here in the summer, too,” he said.

For decades, he has received international acclaim and attention, starting with a solo exhibition in Paris in 1968, a major museum retrospective in Japan, and then the 1977 grand opening of the Centre Georges Pompidou in Paris, to name but a few. Locally, he created the enduring identity for the Hampton Classic Horse Show; his painting and trademark logo has graced the cover of its program for over four decades. In the mid-1990s, Guild Hall also awarded him a lifetime achievement award in visual arts.

More recently, he traveled to Sarajevo in Bosnia and Herzegovina, where he served as the keynote speaker of “Sarajevo 100,” a festival of posters and multimedia works, which was part of a series of events commemorating the 100-year anniversary of the assassination of Archduke Franz Ferdinand, heir to the Austro-Hungarian throne, which led to the start of World War I.

For his Sarajevo submission, he never once picked up his paintbrush, relying only on technology. To create the poster, he used Photoshop and pictures of a painted wall in SoHo taken with his iPhone.

Later this summer, a benefit for Artists & Writers at Glenn Horowitz Bookseller in East Hampton will feature a recent whale painting, made of wood, steel, and acrylic paint. And come September, his portrait and cover design will appear on John Lahr’s 794-page interpretive biography of Tennessee Williams.

The flatness of the farmland in Bridgehampton, particularly when it was less developed, reminds him of the wide-open landscape of his childhood in Oklahoma. Born in 1938, Mr. Davis moved with his parents, Howard and Susan Davis, and siblings from small town to small town, following his father’s appointments in various parishes as a Methodist minister.

From ages 4 to 8, he communicated with his father, then stationed in Alaska during World War II, by sending drawings back and forth. Exposed to little formal artwork, he drew what he saw. Faces became an early, and lifelong, obsession.

“ ‘Have you sent any cartoons to the Saturday Evening Post?’ ” Mr. Davis recalled his grandfather prodding him when he was 10 or 11, adding, “ ‘I think you could do a whole lot better than the stuff they’re publishing.’ ”

“It was encouraging, but I didn’t take it totally seriously,” said Mr. Davis, who smiles easily. He wore a lemon yellow button-down shirt and khaki slacks. Circle-shaped wire eyeglasses framed his face, which has grown slimmer with age.

At Will Rogers High School, his art teacher nudged him in a similar direction. Still not taking the faraway possibility of someday becoming a professional artist altogether seriously, he entered his work in an art contest sponsored by Scholastic and won a three-year scholarship to the Cartoonists and Illustrators School on 23rd Street in New York. A year after his arrival in 1955, it was renamed the School of Visual Arts.

Starting at the age of 17, five days a week from 9 a.m. to 3 p.m., Mr. Davis worked on perspective and figure drawing. “Initially, I really had trouble drawing the thing in front of me. I can see in those drawings the moment I became able to draw what I could see,” said Mr. Davis. “I began to see how it worked. It was an important year.”

In 1956, while he was still in college, Playboy published his first pencil drawing to accompany a short story by Herbert Gold. Shortly thereafter, he stopped going to class, finding a bounty of reliable, paid work as an illustrator.

By 1959, he was at Push Pin Studios, a graphic design and illustration studio, where he met his wife, Myrna. The couple married in 1965 at “the old Tavern on the Green, before it was fancy,” explained Ms. Davis. She has worked closely with Mr. Davis throughout his career and now jokingly refers to herself as his “executive muse.”

 They have one son, Matt Davis, a film editor, artist, and writer. Mr. Davis’s son from a previous marriage, John Davis, a teacher and athletic coach, died six years ago.

After renting a house on North Haven for a summer, the Davises were immediately drawn to Sag Harbor, purchasing their house in 1966. Then, as now, houses moved quickly. “There was an ad and we drove by,” recalled Ms. Davis. “We came back that night and said we’ll take it. We were the only people ever to see it.”

Though artists had flocked to nearby Springs, Sag Harbor held onto its working-class roots. “Sag Harbor was not fashionable. It was a kind of diamond in the rough,” said Ms. Davis. “The houses weren’t at all fixed up.”

In those days, he painted for hours at a stretch, often starting at noon and working well into the night. Growing up in the plains, Mr. Davis had spent a lot of time looking up at the open expanse of sky, where cloud formations changed hourly. They later appeared in his early representational work of American life, his trademark clouds and landscapes becoming widely imitated by other artists.

“You do things a certain way because of your limitations and people begin to see those as your style,” said Mr. Davis, who has always experimented with other styles, materials, and moods. “Picasso said he was not one of those bakers who makes the same little cakes and then turns them out for the rest of their lives,” said Mr. Davis. “It should be more of an adventure.”

He considers 1975 to 1991 to be among his “most productive and most visible” years. During this time, he met Joseph Papp, who founded the New York Shakespeare Festival (now the Public Theater), who commissioned more than 50 theater posters from Mr. Davis — from “Hamlet” to “For Colored Girls . . .” to “Three Penny Opera.” Most contained haunting, evocative images with very few credits. Mr. Papp wanted the posters to convey the experience of the play rather than crowding the art with too much text. During the 1980s, he also asked Mr. Davis to serve as the art director for the Public Theater.

In the late 1980s, he served as the founding art director of two new publications, Normal, a literary and arts magazine that ran for four years, and Wigwag, a general interest monthly magazine. From time to time, to help pay the bills, he took on various other projects — from designing logs and book jackets to working on television commercials and print advertisements.

Most days, Mr. Davis can be found in his studio in Sag Harbor, still painting.

Part of the fun is being unsure of how, exactly, it will all unfold. In examining his own work, he often wonders whether he could again replicate it.

“The emotions that go into the making of it are always expressed at the end somehow,” said Mr. Davis. Unless he’s genuinely enjoying himself, he finds his own work a bit flat. “The joy of making something is evident.” Looking at the work of other artists, he always searches for evidence of struggle, of pleasure.

Mostly, he lends himself over to the unknown.

“As Saul Steinberg once said to me, ‘If I knew exactly what was going to happen when I went to the studio, I wouldn’t bother going there,’ ” said Mr. Davis.

Slightly frazzled, toting coffee in a takeout container, Nina Yankowitz admitted having been up until 4 a.m. — not partying but working — as she welcomed a Sunday-morning visitor to the Sag Harbor home she shares with her husband, Barry Holden. While Mr. Holden, an architect and sometime collaborator, disappeared, laptop in hand, for a conference call, Ms. Yankowitz led her guest to an upstairs living room overlooking Noyac Bay.

It was a week before she was to begin the installation at Guild Hall of “Criss-Crossing the Divine,” a gallery-sized piece of enormous technological complexity involving collaborators in Sweden, Austria, and the United States. Her lack of sleep was understandable.

The completed installation, which will be on view through July 27, transformed Guild Hall’s Spiga Gallery into a virtual sanctuary or “theater in the round,” as Ms. Yankowitz called it during a visit to the museum two weeks later. A video of a rapidly revolving and mutating building — the artist refers to it as “Houses of Warship” — is projected across the east wall of the gallery. Three robotic figures, Hindu, Catholic, and Buddhist priests, appear to levitate above the gallery floor in the middle of the room, while two more, a Muslim woman and a Jewish man, flank the video projection. The figures’ movements suggest the ways in which they worship.

Interactive games are projected on the gallery’s north and south walls. Visitors, using an infrared wand, are invited to select words that appear in the sacred texts of all five religions. Each time a word is selected, color-coded excerpts from the texts containing that word appear on an adjacent screen.

Both games function similarly, though with different visual configurations. Each is essentially a complex search engine that not only chooses from more than 48,000 scripture selections but also organizes and reorganizes them in a way specific to the player’s direction. Once finished, participants can save their search results, retrieve them from a website, and learn from which religions the color-coded texts originated.

The intention of “Criss-Crossing the Divine” is to emphasize the similarities among the different scriptures and their tendency to change over time. Ms. Yankowitz will discuss the project and related issues with Christina Strassfield, the museum’s curator, on Sunday at noon.

The project, funded by a grant from European Mobile Lab for Interactive Media Artists (e-MobiLArt), was a life-changing experience. “We met in five different countries,” Ms. Yankowitz said, “and I made my presentation each time.” Mauri Kaipainen, a Swedish professor of media technology, designed the interactive multi-perspective search engine; Peter Koger, an Austrian media technology professor, designed the software/hardware interface. Other collaborators were Mr. Holden, who served as project coordinator, and Qing Tian Chen and Mark Klebach, the robotics team. The project was developed almost entirely on Skype.

Ms. Yankowitz was born in Newark and raised in South Orange, N.J. While still in high school, she said, she would cut classes to hang out at the folk music venues in Greenwich Village, where she first heard about a collective of artists, musicians, and poets called Group 212. She spent the summer of 1968 with the group in Woodstock, N.Y. (the famous Woodstock Festival happened the year after), where she met Juma Sultan, a percussionist who played with Jimi Hendrix, Archie Shepp, Sunny Murray, Dave Burrell, Kenneth Werner, and Bob Dylan.

It’s no wonder that much of Ms. Yankowitz’s work, ever since she earned a degree from the School of Visual Arts in 1969, has involved collaboration, interactivity, politics, and technology. She had her first exhibition in New York that same year at the Kornblee Gallery, where she showed “Oh Say Can You See: A Draped Sound Painting,” created in 1967-68. She painted the first few notes of the national anthem on cloth and hung it loosely on the gallery wall. It was accompanied by a recording of the notes, distorted by Mr. Werner on a synthesizer. The work combined an implied antiwar message and what was then cutting-edge technology with pushing the boundaries of what a painting, or any artwork, could be.

Only four years out of art school, Ms. Yankowitz was selected for the Whitney Biennial in 1973. At the same time, she was a founding member of the Heresies Collective, a feminist group that gave rise to Heresies magazine, which was published from 1977 to 1992 and called into question many of the assumptions and practices of the art world. “I was never interested in having work that used ‘female’ imagery or methodology,” she explained. “I totally respected it, but it just wasn’t my thing. But Heresies opened a lot of doors for disenfranchised artists, and I realize now it was necessary to take one thing, in that case female imagery, and push it through in order to make a change.”

Ms. Yankowitz moved into a loft building on Spring Street in 1973, and two years later, while a visiting artist at the School of the Art Institute of Chicago, she met Mr. Holden. They met again in 1980, when he moved to New York, and were married in 1986. Their son, Ian, graduated from Northwestern University in 2012 and is a cinematographer and film editor. They purchased the Sag Harbor house in 1993.

Ms. Yankowitz has long been involved with public art projects, many of them in collaboration with her husband. Their last joint project was Interactive Poetry Walk, completed in 2009 in East Cleveland. Granite spheres embossed with texts conceal speakers which, when activated by passersby, speak poetry by admired poets who lived or worked in Cleveland. The spheres appear to be skidding to a halt, leaving behind imprints of poems inlaid along granite paths for visitors to read. The project combines technology, interactivity, language, and visual elegance.

Houses have figured prominently in Ms. Yankowitz’s work since 2000. The basic structure is constructed from glass panels and aluminum framing. Like the house in Jennifer Bartlett’s paintings, it is a schematic, iconic image that remains constant through various iterations. The glass walls of “Kiosk.edu,” which was exhibited in Guild Hall’s sculpture garden in 2005, consist of quotations from artists, actors, architects, and writers. At night the quotations are illuminated from within. “It’s about playing with words and contemplated concepts providing windows into creative minds and the creative process,” said Ms. Yan­kowitz.

“One night I woke up and told Barry I was going to make a cloud house,” she recalled. “He thought I was crazy.” Intrigued by the idea of bringing the outside inside, Ms. Yankowitz read that ultrasound could produce mist from tiny droplets of water. She placed water on the floor of the glass house and an ultrasound generator inside. “Depending on the moisture outside, the barometric pressure, the cloud would move and change. I put little LEDs in the generator so it would be lit at night.”

In 2011, at Galapagos Theater Space in Brooklyn, Ms. Yankowitz directed an interactive performance film with five other collaborators. Titled “The Third Woman,” the starting point of the piece consisted of film clips shot in Vienna by Pia Tikka and Martin Rieser, some of them in the same sewers where Orson Welles was pursued in the climactic scene of Carol Reed’s film “The Third Man.” The Algorithmics, a group of models wearing costumes with QR codes on them, circulated through the audience, whose members could click on the codes and receive films clips and questions to answer on their cellphones. Through their responses, the audience determined the outcome of the final film via communal voting on a shared Wi-Fi network.

Ms. Yankowitz’s work has taken many forms over the course of her career. In addition to her exhibitions here and abroad, she has executed many public projects, including an M.T.A.-commissioned tile installation in the 51st Street Lexington Avenue subway station, two rooftop gardens at I.S. 145 in Queens, and public seating projects in Denver and Santa Monica, to name just a few. Her work is in many public and private collections, including the Museum of Modern Art, the Fine Arts Museum of San Francisco, and the Bank of Boston International.

Bill King at Art Barge

Artists Speak at the Art Barge will feature William King, a sculptor whose work is on view at Duck Creek Farm in Springs, in conversation with Janet Goleas, an artist, writer, and curator, on Wednesday at 6 p.m.

Mr. King, who has lived in East Hampton since 1959, is as recognizable a figure on the East End as his elongated, silhouette-like figures. A member of the American Academy of Arts and Letters, he has been awarded honorary doctorates by the San Francisco Art Institute, the California College of Arts and Crafts, and the Corcoran School of Art.

Artists Speak began in 1983 as a forum for artists to engage in one-on-one conversations with a moderator. Howard Kanovitz, a pioneer of Photo Realism, hosted the series in its first iteration, which lasted until 1989.

Tickets are $20, and seating is limited. The Art Barge is on Napeague Meadow Road.

“Mark Makers”

McNeill Art Group is presenting “Mark Makers,” the second exhibition at its space at 40 Hill Street in Southampton, from today through Aug. 4. A reception will be held tomorrow from 5 to 7 p.m.

The exhibition will include photographic works by Lori Cuisinier, who divides her time between Southampton and New York City; paintings and works on paper by Jeff Muhs, a Southampton native; mixed-media works on canvas and watercolors on paper by Bastienne Schmidt of Bridgehampton, and beeswax, muslin, and acrylic works on panel by Mike Solomon, who works — and surfs — in East Hampton and Sarasota, Fla.

New at Ashawagh

“B.O.W. XI,” a group exhibition that features a variety of approaches to the figure, will be on view Saturday and Sunday at Ashawagh Hall in Springs. A reception will take place Saturday from 5 to 8 p.m.

Body of Work, a fluctuating group of artists united by an interest in the figure, has organized the exhibition with Esperanza Leon, a gallerist and curator. The group includes nonmembers in its shows in order to ensure the expansion of representational possibilities.

The exhibition will include new work by Rosalind Brenner, John Capello, Linda Capello, Michael Cardacino, Daria Deshuk, Ellen Dooley, Cynthia Loewen, Setha Low, Christa Maiwald, and Michael McDowell.

Ashawagh Hall will also be the site of a fund-raiser for Arts Against Addiction next Thursday from 6 to 10 p.m. The event will feature work by East End artists, musicians, and writers, hors d’oeuvres, nonalcoholic beverages, and a raffle. Tickets are $32, and proceeds will help provide treatment scholarships for individuals who need creative counseling. 

Lecture on Legacies

Christy MacLear, currently executive director of the Robert Rauschenberg Foundation and formerly founding executive director of the Philip Johnson Glass House, will deliver the John H. Marburger III Memorial Lecture at Guild Hall on Sunday at 4 p.m.

Titled “New Takes on Legacy: The Artist, the Architect, and the Historic Home,” the talk will address the innovative ways in which the legacies of Rauschenberg, Johnson, and others can be used for public benefit.

The program is sponsored by the Pollock-Krasner House in Springs, where a reception will take place following the lecture, from 5:30 to 6:30 p.m. Tickets are $10, $8 for members of Guild Hall and the Pollock-Krasner House.

Two at Halsey Mckay

Halsey Mckay Gallery in East Hampton will present concurrent solo exhibitions of work by Denise Kupferschmidt and Hilary Harnischfeger from tomorrow through Aug. 4, with an opening reception to be held Saturday from 5 to 8 p.m.

Ms. Kupferschmidt, who lives in Brooklyn, makes paintings, drawings, sculpture, and prints using a minimal, geometric vocabulary that suggests early 20th-century primitivism. She will be exhibiting paintings at Halsey Mckay.

Ms. Harnischfeger, who divides her time between Brooklyn and Granville, Ohio, assembles her densely compacted sculptures from such materials as porcelain, pigment, paper, dye, crushed glass, plaster, pyrite, steel, and mica.

Ramiro Solo

The Grenning Gallery in Sag Harbor is presenting a solo show of paintings by Ramiro through Aug. 3, with a reception for the artist scheduled for Saturday from 6 to 9 p.m.

Ramiro paints only from life, searching for accuracy beyond physical appearance to reach the psychological state of his subject. He believes the painter must draw his information from all five senses to tell the complete human story.

Born in Venezuela in 1974, Ramiro has lived and worked in Florence since 1993. The Grenning exhibition will feature four substantial figurative works, each “representing a season of the soul,” according to the gallery.

Don’t Touch

“Tactility,” an exhibition organized by Arlene Bujese, will be on view at the Southampton Cultural Center’s Levitas Center for the Arts through Aug. 16.

Darlene Charneco uses nails, enamel, and polyurethane on wood to create wall panels inspired by personal philosophy and experience. Carol Hunt will exhibit weavings whose abstract motifs are inspired by nature.

Dennis Leri’s sculpture combines wood, paint, and strips of metal, with metal strips overlapping or interspersed with other materials. Will Ryan’s paintings are built up with layers of encaustic and leaf on board.

A reception will take place next Thursday from 5 to 7 p.m.

Rare Drawings in Bridge

Beginning tomorrow with a reception from 4 to 8 p.m., Kinnaman & Ramaekers of Bridgehampton will be showing a group of rare, original drawings created between 1900 and 1930 as full-sized patterns for important stained glass windows made during that period. The exhibition will continue through July 27.

The drawings were made by the London firm of Clayton & Bell, one of England’s preeminent stained glass window manufacturers and only recently discovered by Ari Milner, a New York City dealer of antiques and prints.

Pinajian’s Early Nudes

“Arthur Pinajian: The Nudes,” will open today at Lawrence Fine Art in East Hampton and remain on view through Aug. 4. A contemporary of the Abstract Expressionists, Pinajian rarely exhibited his work and was virtually unknown. After his death in 1999, five decades of accumulated artwork were found in the one-car garage and attic of the cottage he shared with his sister in Bellport.

While the East Hampton exhibition will focus on his early nudes, he is also known for his abstract paintings and lyrical landscapes. An opening reception will be held Saturday from 5 to 8 p.m.

Photo Group in Water Mill

“Summer Celebration,” an exhibition of work by members of the East End Photographers Group, will be on view at the Water Mill Museum from today through Aug. 11. Eighteen photographers will show work using traditional, digital, and alternative photographic processes. A reception will take place Saturday from 5 to 7 p.m.

Paintings at Kramoris

Romany Kramoris Gallery in Sag Harbor will present work by Anna DeMauro and Thomas Condon from today through Aug. 17, with a reception scheduled for Saturday afternoon from 4:30 to 6.

Ms. DeMauro, who lives in Sag Harbor, is a painter and sculptor who works from life to record the passage of time and impressions of the metaphysical and human condition. Mr. Condon’s recent work has focused on both urban scenes and the landscapes of the East End. He divides his time between New York City and East Hampton.

The Parrish Art Museum in Water Mill will present the first comprehensive survey since 1966 of the work of William Glackens from Sunday through Oct. 13. Spanning the artist’s career from the 1890s through the 1930s, the exhibition will include more than 70 paintings and works on paper from important public and private collections, including those of the Metropolitan Museum of Art, the National Gallery of Art, and the Cleveland Museum.

Organized by Avis Berman, a writer and art historian who will lead a tour of the show on Sunday at 11 a.m., “William Glackens” explores the variety of motifs found in the artist’s work. His landscapes range from the urban spectacle of New York City to the beaches of Cape Cod and Bellport. He was also a master of still lifes, portraits, and figure studies.

Born in Philadelphia in 1870, Glackens studied at the Pennsylvania Academy of Fine Arts, where he became friends with Robert Henri, George Luks, Everett Shinn, and John Sloan. The five painters formed the core of the group known as The Eight.

“The William Glackens exhibition presents an extraordinary opportunity to observe the artist’s entire career,” according to Alicia Longwell, the museum’s chief curator. “Scenes of daily life were the hallmark of The Eight, and it was Glackens’s brilliance to realize an art of depth and distinction from such commonplace subject matter. It was to scenes by the shore that he returned again and again and the paintings in the exhibition from the Bellport years brilliantly show this high point in his quest for an art that would convey not only observation but sensation.”

While his early work was influenced by Henri in its muted colors and gestural brushstrokes, Glackens, inspired by visits to Europe, later turned to outdoor scenes, using bright, lively colors. His change in style was reinforced by frequent trips to France, and his mature style suggests Monet’s paintings of the 1860s.

Glackens was on the selection committee of the 1910 Exhibition of Independent Artists, the first large-scale invitational show of progressive artists, and was chairman of the American section of the Armory Show, which introduced European vanguard art to this country in 1913. With these roles Glackens became a powerful advocate for landmark exhibitions of the American and European avant-garde.

As an advisor to Albert C. Barnes, the Philadelphia chemist who became a self-made millionaire in the early 20th century, Glackens traveled to Paris on a buying trip in 1912 and returned with works by Paul Cézanne, Maurice Denis, Vincent van Gogh, Pablo Picasso, Camille Pissarro, and Pierre Auguste Renoir. These purchases became the nucleus of the Barnes Foundation collection.

A fully illustrated catalog, edited by Ms. Berman and including an essay by Dr. Longwell titled “Scenes at the Shore: Glackens’s Summers by the Sea,” accompanies the exhibition, which will travel to the Barnes Foundation in November.   

Visitors to Aubrey Roemer’s cool, sizable studio, in a rented basement apartment in Montauk, are greeted with a sea of local faces painted on linen and strung from the rafters of the room. The work was originally called “The Montauk Portrait Project,” but she has since decided to call it “Leviathan,” to represent a large vessel of the sea.

Her goal was to capture at least 10 percent of the hamlet’s year-round community, roughly 400 people. At last count, on June 19, she had completed 100 pieces, and has now decided to shoot for 500.

A graduate of Pratt Institute, Ms. Roemer had never been to Montauk before she jumped on a train in October to get away from a troubled time in her life. Friends had warned her that the locals were a crusty, unfriendly group, but, she said, she found just the opposite. “Everyone has been so friendly, and so helpful.”

On the train back to Brooklyn, she said, she felt as if she were wrapped in a big cozy blanket and knew she would return. “I was super-grateful and left with a smile on my face.” That was when the idea hit her. “I saw the project in my head. I saw the vision, and I just wanted to be here in Montauk.”

She had created a similar work once before, with strippers as her subjects. The owner of the strip club allowed her to exhibit the finished work in the club. “It turned a nontraditional venue into a venue of high art, and people loved it!”

When Ms. Roemer returned to Montauk she spoke with bartenders, fishermen, and other service workers, all of whom offered her advice. Some sat for their portraits, a process that takes only about 20 minutes.

She uses blue paint on fabric foraged from all over the place, including bedsheets from the Montauk Community Church’s rummage sales. The paint leaches through to the cloth, creating an aura of haze, typical of the East End fog.

Ms. Roemer plans an exhibit at the end of the summer, to be held near a body of water. The sun on the water, she said, will lend a stained-glass effect.    If the East Hampton Town Board gives the go-ahead, she will install her work at the pier at the end of Navy Road, to be visible by land or sea. If anyone wants to sit for their portrait, she said, she can be reached at [email protected].

Eric Dever in Chelsea

An exhibition of paintings by Eric Dever, who lives and works in Water Mill, will open today at the Berry Campbell Gallery in Chelsea and run through Aug. 9. Mr. Dever has pursued intensely focused investigations into the methods and materials of painting for more than a decade. In the past his compositions were largely geometric, including concentric circles graded from dark to light and variations on the grid. His most recent work has broadened into free shapes and tactile surfaces, the starting point for which was a rose in his garden that he deconstructed.

Mr. Dever has exhibited throughout the United States and abroad, most recently in the show “Redacted” at the Islip Art Museum. Jodie Manasevit, an abstract painter who lives in Brooklyn, will be exhibiting at the gallery concurrently with Mr. Dever. An opening reception will be held today from 6 to 8 p.m.

Richmond Burton Returns

The Silas Marder Gallery in Bridgehampton will present a solo exhibition of paintings by Richmond Burton from Saturday through Aug. 11. A reception for the artist will take place Saturday from 5 to 8 p.m.

Mr. Burton, who lived and worked in the former East Hampton studio of Elaine de Kooning from 1998 through 2011, had his first one-artist show in New York when he was in his 20s and has been exhibiting internationally since then. Among the many museums that have collected his work are the Metropolitan Museum of Art, the Museum of Modern Art, and the Art Institute of Chicago.

His colorful and harmonious paintings and graphic work are composites of his vocabulary of organic shapes that flow together in undulating patterns resulting in unique multicolored abstractions. The exhibition will include several large-scale works created before he left the East End, as well as recent paintings.

Broderick at Ille Arts

Ille Arts in Amagansett is presenting an exhibition of paintings by Patricia Broderick, a painter and writer who died in 2003, from Saturday through July 29. Broderick lived on Washington Square Park in New York for much of her life. She started painting in her teens under the tutelage of the Mexican artist Rufino Tamayo, and later at the Art Students League. She also wrote and directed several plays, and went on to write for television and motion pictures.

Her paintings are highly personal and often involve memories of family, friends, and important events in her life. Others depict figures looking out windows, or looking into a distant landscape. She also painted landscapes of Ireland where she and her husband, the actor James Broderick, owned a house, and where the family spent a good deal of time over the years. A reception will be held at the gallery on Saturday from 6 to 8 p.m.

Sonnier in Southampton

“Keith Sonnier: Elliptical Transmissions” will open next Thursday at the Tripoli Gallery in Southampton and remain on view through Aug. 17. Transmission has figured in Mr. Sonnier’s work since the 1970s, when he began experimenting with the formal properties of video. In 1977 he and Liza Bear made the first live two-way telecast between New York and San Francisco during which artists at both ends interacted with each other in real time.

The Tripoli exhibition will include work from 1990 through 2013, including “Ellipse I” and “Ellipse II,” from 1993, whose shapes Mr. Sonnier has referred to as astral in appearance, and more recent work that reflects changes in technology.

Mr. Sonnier, who lives in New York and Bridgehampton, is one of several artists who in the late 1960s radically reinvented sculpture through the use of new materials and technologies. His work has been exhibited and collected internationally for more than 40 years.

A reception will take place next Thursday from 6 to 8 p.m.