An anonymous donor has promised a gift of $300,000 to the Bay Street Theatre in Sag Harbor if it can raise matching funds.

    The gift was in response to the theater’s announcement that Scott Schwartz will be the new artistic director for the 2014 season.

    The gift will launch the theater’s fall matching funds campaign. Tax-deductible donations can be made by clicking the “Donate Now” icon on the baystreet.org Web site or through the box office.

   A documentary about junior golfers, the subject of the final film in the Hamptons International Film Festival’s SummerDocs series at Guild Hall tomorrow, wasn’t the first thing that came to mind for Josh Greenbaum when he was thinking about a new project.

    First, he wasn’t a real golfing enthusiast, more of a “weekend hacker,” in his words. Then, he felt the world of 12 to 13-year-olds in fierce competition that he was initially approached about covering had been expertly exhausted in documentaries such as “Spellbound,” about spelling bees, and “Racing Dreams,” about go-cart racing.

    It was David Frankel, a son of the longtime New York Times editor Max Frankel, who came to him with the subject. Mr. Frankel, a director and producer, has made films such as “Marley and Me” and “The Devil Wears Prada.” He has twins, a boy and a girl, who are in that world of competitive golf and thought it would make a good documentary.

    Mr. Greenbaum, who is known for his comedic short films, has become interested in making documentaries in the past few years. He did some research and soon realized that competitive golfing starts as early as ages 5 and 6. “Then, I jumped at it. That was a movie I wanted to make and watch.”

    The film, “The Short Game,” was the South by Southwest Film Festival’s 2013 Audience Award winner for best documentary feature. It is largely set at the World Championships of Junior Golf in Pinehurst, N.C., which is where he got started. “We went to the tournament the year prior to begin casting and meeting several hundred individuals and families to choose those we wanted to follow for the next year.”

    The tournament attracts 1,500 competitors from 54 countries. In the end, five boys and three girls were chosen as the focus for the film. In addition to the United States, the children hail from countries as diverse as France, the Philippines, and South Africa. Some have famous relatives, such as Allan Kournikova, the brother of Anna, the tennis superstar, and Augustin Valery, grandson of the poet Paul Valery.

    Mr. Greenbaum said his goal was to get to know them “not just as golfers but who they are as people, to make them feel like your little brother and little sister.” He traveled to their homes and watched them train and interact with their families.

    He bristled at the notion that each was the product of stereotypical stage parents. “Everyone asks me to tell them about the crazy parents. They are a part of the film, but the children are the leading men and ladies of the film. The parents play a supporting role.”

    Are they, in fact, crazy? Yes, he said, they can be, but on the whole they are not as bad as one might assume. “These kids are the best in the world at what they do. So they have to have some sense of an inner drive.” They may receive prodding from their parents, but “you can’t make kids practice at something they don’t want to do at the ages of 5 or 6. You can’t make them good at it either.”

    The parents “don’t want to be mean. They want what all of us want for our kids, for them to be successful or happy in what they do. Is there a right way or a wrong way? Sure, but I’m not going in with that judgment. If they are pushing, I want to know why. What lies at the core of it?” Often, it is financial — parents who couldn’t afford to send their children to college otherwise looking for ways to get them scholarships to give them a better life.

    The kids, he said, are “one part hilarious and one part brilliantly wise.” Older and more experienced golfers might find that one bad hole at the beginning of a round can ruin their whole game. The children are trained to have a short memory. “Good or bad, they completely forget about the last hole. They are thinking about the next hole, the next shot. Even if they have had a great hole, a birdie or an eagle, they focus on the task at hand.”

    Another universal life lesson from the film is their focus on the goal. “The flag is the only thing they see on the fairway. They don’t see the bunker on the right or the trees on the left. As adults we have hit the bunkers and the trees and may only see the obstacles to the goal,” Mr. Greenbaum said. “There is such power and inspiration in watching them play the game and saying, ‘I’m just going to go for the flag.’ ” It is a bravery that he finds compelling both as an individual and as a filmmaker.

    “It was unbelievable to wake up every day on this film. You would pick up the camera with an expectation of what you hoped to get, and then getting something completely different was the exciting part for me.”

    These unexpected moments, including capturing a hole in one by one of the players, “was just like getting a hole in one as filmmakers — it is so rare to catch.”

    Those who can’t make it to the Guild Hall screening can see “The Short Game” in theatrical release starting Sept. 20.

   The Southampton Arts Festival will present its opening concert of two Bach concertos tomorrow on the terrace of the Parrish Art Museum. “Double Violin Concerto in D-minor” and “Concerto for Two Violins in D-minor” will be performed by Dmitri Berlinsky and Mikhail Bezverkhny. The concert will begin at 6 and will continue during the sunset.

   The festival, founded by Elena Baksht, a pianist, and Mr. Berlinsky, has both a performance and educational program. It offers a two-week young artist program, which includes chamber music concerts from a distinguished faculty and visiting artists; private and chamber music lessons for professional students, and master classes, which are open to the public.

   Tickets are free with museum admission of $10, and free for members, students, and children. Guests have been encouraged to take chairs or blankets for use on the terrace and the events lawn.

    The Parrish will also host the festival’s closing concert on Aug. 25, at 4 p.m. in the museum’s theater. Those tickets are $20, $10 for members, but free for students and children.

   Tomorrow’s  “New York City Ballet On and Offstage” is sold out, but there are plenty of other diversions at Guild Hall this week to keep audiences occupied.

    Saturday night brings “An Evening with Laurie Anderson” at 8 p.m.  The performance artist and musician will bring her unique style of music and storytelling to the theater with tickets starting at $40 for balcony up to $100 for prime orchestra and a reception with Ms. Anderson.

    On Sunday at 11 a.m. Thomas Keller will speak with Florence Fabricant in the series “Stirring the Pot: Conversations with Culinary Celebrities.” Mr. Keller is the owner of the legendary French Laundry in the Napa Valley as well as Per Se in Manhattan and his successful chain of more casual eateries: Bouchon, Bouchon Bakery, Bar Bouchon, and Ad Hoc. Tickets are $15 and $13 for members, with a limited number of $75 tickets to a pre-conversation at 10 a.m. and a continental brunch with the speakers.

    That evening at 7:30, “An Evening with the Astaires” with Anna Bergman, Lee Roy Reams, and Jennifer Sheehan will be presented, with direction and choreography by Tricia Brouk and musical direction by James Followell. Tickets start at $40.

    On Monday evening at 8, “The Doo-Wop Project,” starring cast members of “Jersey Boys,” will take a musical trip back to the past with perfectly pitched melodies. This show features new songs. Tickets start at $40.

    The East End Special Players will give an encore performance of “Gigi: The Life of a Doll” on Tuesday at 7 p.m. The performance was sold out at Bay Street Theatre when it was first presented in April. The show, suitable for all ages, features the players going from birth to falling in love, to the challenges of day-to-day life, with music, contemporary dance, and colorful scenes, told through the eyes of a doll. The show is directed by Jacqui Leader.

    Tickets, $25 for adults and $10 for children, are available at the door or through eastendspecialplayers.com.

     The week finishes with a screening of “Chinese Hand Laundry” and “Field of Waste” on Wednesday at 8 p.m., presented and followed by questions with Lana Jokel, the film’s director. Ms. Jokel recorded the process of the Chinese avant-garde artists Huang Yong Pin and Chen Zhen as they worked to install a site-specific installation at the New Museum in 1994. Admission to this event is free.

    All of the above events have free standby student tickets available. Tickets can be purchased at the Guild Hall box office or at guildhall.org.

   Paula Poundstone will get to her performance at the Bay Street Theatre on Monday much the way she usually does. “I arrive on an airplane and I remember that it’s a long drive in from where I fly,” the comedian said, speaking from her home in Los Angeles. “I take a quick nap, eat dinner, take a shower, and go to work.”

    She appears to be in the middle of an East Coast weekender tour, with stops in Nantucket, Old Saybrook, and Woodstock, but she actually flies back to the coast between gigs to keep up with her three children, 16 cats, and two shepherd mixes. “I don’t spend a lot of time anywhere.” Even before she had children, “I never liked the idea of being on the road. I spent a month doing it once and it was awful.”

    She actually flew home once between gigs in Florida just to spend two hours there. She may have changed her clothes and fed the cats too. “If I want to regroup, I go home.”

    This is Ms. Poundstone’s fifth visit, and she has been here enough to know that the audience — with which she is famous for interacting — is really no different, or maybe just slightly so, from Tulsa, Okla. or Grand Junction, Colo. where she was headed when she spoke to The Star.

    “The differences from town to town and region to region are not that great. The truth is we’re not terribly unique and have far more in common as Americans than you would think. There may be a different ambience and the people are a little bit different, but very few of us live where we were raised, so there is not that tribal mentality to any particular group at any time that I’ve noticed.”

    Ms. Poundstone has had a long career of firsts and honors as a female comic, but, at least among a certain crowd, she is known primarily for her pithy and irreverent observations and contributions to “Wait, Wait, Don’t Tell Me,” the NPR news quiz hosted by Peter Sagal and broadcast locally on Saturday and Sunday mornings. The banter is improvised, the only preparation being what the three panelists might have gleaned from that week’s news. “We don’t have a script,” she said. “If there was someone industrious enough among us to write a joke or two, I’m sure it would land, but none of us do.”

    She said that at one point the show’s producers floated the idea that there should be prepared material, but “everyone to a man said no, that’s a terrible idea. The magic is in the ideas being thought of on the spot. If people thought those things were written they would be crushed, and none of us want to be phonies.”

    Not every episode is magic, “but you can suck with a script, too. Most of the time I think it’s so much fun to riff on stuff with one another. That energy carries across whether everything we say is particularly brilliant or not.”

    She finds every panelist fun to work with, but said she believes the producers have kept her and Adam Felber apart on purpose. The two met through the show and have become friends, but bring out what she called “behavior problems” in each other on set. She traced it back to a night on location at a theater in Berkeley, Calif., which always had a signer for the hearing-impaired. “It was the ‘Not My Job’ game and there was a Ronald Reagan quote that you had to pick A, B, or C for the correct response. One of the answers was ‘he passed a budget like he was crapping a pineapple,’ ” which happened to be the correct response.

    As the answer was repeated in the exchange, said Ms. Poundstone, “I thought to look over at the signer to see how on earth you would sign it. Adam and I were fascinated by it and laughed at it. Those signers are like British guards, they don’t react. We decided we’d get her to sign really weird things that you would crap. Adam peaked, I think, at ‘wriggling ferret.’ ”

    She said they knew none of it was going to make it on air so they kept it up. “We were getting off on it, and then through our headsets we heard the directors saying, ‘You know we can’t use this. Could you just stop now?’ ”

    “Since then we haven’t been put together on the show that often.”

    Tickets for Monday’s performance, which starts at 8 p.m., are $69 and $62 for members. They are available through the Bay Street Theatre box office or baystreet.org.

    Nile Rodgers, who has produced and co-written some of the music industry’s biggest hits including those by Madonna, David Bowie, Duran Duran, and Diana Ross, plans to bring East Enders of all ages together for a dance party at Martha Clara Vineyard on Monday night. The event will serve as the inaugural concert for All for the East End, a not-for-profit that seeks to support the other East End nonprofits.

    Happy dance music has been promised by a range of performers selected by Mr. Rodgers, among them Chic, a band that he founded that was known for such songs as “Le Freak.”

    Adam Lambert, known best from the eighth season of “American Idol” and soon to join the cast of “Glee,” will also perform. A mystery guest is also expected to take the stage with Mr. Rodgers.

    Mystery Skulls, founded by the Los Angeles electronic artist Luis Dubuc, who fronts Daft Punk, will be in attendance too. Mr. Rodgers co-wrote the song “Get Lucky” by Daft Punk, which has been dubbed the anthem of the summer, according to a release, and is “the first song in history to go number one in 73 countries.”

    Other musical guests will include Prince Paul, a disc jockey and hip-hop record producer native to Long Island, Chromeo, who will bring electro-funk, and Russell Peters, a veteran skratch D.J. who is also an award-winning Canadian actor.

    The gates will open at 5 p.m. at Martha Clara Vineyards in Riverhead, chosen for its central location to both forks and for its ability to accommodate the 5,000 attendees expected.

    Bridgehampton National Bank, the event’s presenting sponsor, announced this week that it would buy a ticket for each one purchased, in a “buy-one-get-one” incentive available through the nonprofit’s Web site, aftee.org, where V.I.P. tickets are also an option.

    General admission tickets cost $149, with a special price of $50 for East Enders and a limit of four per resident.

   After inaugurating a music festival here late last August, an outstanding new chamber music ensemble from New York City will stage the South Fork’s second Salomé Festival, with three very different events to close out the summer classical music season.

    The Salomé Chamber Orchestra was founded in 2009 by Lauren, Sean, and David Aaron Carpenter, siblings, two violinists and a violist. The ensemble will consist of five players, with David Aaron Carpenter as the featured soloist. The full roster of the orchestra numbers about 25, all of whom are postgraduates from Curtis Institute of Music, the Juilliard School, Manhattan School of Music, Princeton University, and Yale University.

    The opening concert, on Friday, Aug. 23, at 7 p.m. in the Castle Barn at Nova’s Ark Project in Bridgehampton, will focus on music inspired by nature, with works by Vivaldi, Paganini, Piazzola, and Schubert.

    Alexy Shor is the orchestra’s composer-in-residence. Last year he wrote several pieces for the group, which are “shorter, virtuosic, sentimental, and Eastern European-inspired,” Lauren Carpenter said recently. At this concert, several of his commissioned selections will also be heard.

    A concert of music of the Jewish diaspora will feature works by Gershwin, Kreisler, Mendelssohn, and Shor, to be held at the Jewish Center of the Hamptons in East Hampton on Aug. 24 at 8 p.m. In addition, klezmer selections by Ljova, a Russian film composer and violist, will be heard. The festival is offering this concert free to the public.

    A treat for families with children as well as Jacques Offenbach fans of all ages will be the one-act operetta “The Babysitter” on Aug. 25 at 3 p.m., also at Nova’s Ark. The opera company Divaria Productions has made a somewhat abridged, family-friendly version and translation of this comic opera, and this will be its premiere, with dialogue in English and arias sung in French.

    Salomé’s mission is to “present classical music as relevant to today’s younger generations, while at the same time joining with philanthropic organizations to directly help those in need via charity concerts and events.” According to a release, the ensemble raised over $500,000 last year through concerts for charities, and its partner organizations have included the FEED Projects, the Trevor Project, Camfed, Lighthouse for the Blind, Jewish Family Services, the Children’s Hospital in Los Angeles, the Overseas China Foundation, and Manhattan Jewish Experience.

    Both concerts at Nova’s Ark Project will benefit the Ark Project and Terra Nova Foundation. It is situated on a 95-acre preserve, with sculpture fields, galleries, performance spaces, and workshops, and was founded by the Romanian sculptor Nova Mihai Popa. For these two events, the sculpture gardens will be open to concert guests one hour before and after the performances.

    The Salomé Chamber Orchestra has performed with artists as varied as the singer-songwriters Rufus Wainwright, John Legend, and Natasha Bedingfield, the classical violinist Daniel Hope, the New York Philharmonic conductor Alan Gilbert, and the National Symphony Orchestra director Christoph Eschenbach.

    During the 2012-13 season, the orchestra presented four concerts as the artists in residence at the Metropolitan Museum of Art, performing on violins and violas from the museum’s Sau-Wing Lam Collection of Rare Italian Stringed Instruments. Earlier this year they performed aboard the Hapag-Lloyd cruise ship MS Europa and in Munich, and toured in various venues in California.

    Now, the orchestra is also taking steps to encourage new talent. It has announced its first Young Artists Competition this fall, for string players 18 or under. The grand prize carries with it a cash award and a chance to perform with Salomé in 2014 on a historic instrument provided for the occasion by Carpenter Fine Violins. 

    And, yes, there is a connection in the Carpenter name. Lauren and Sean are the owners of Carpenter Fine Violins, a company that specializes in “selling and co-investing in fine musical instruments,” according to Ms. Carpenter.

    Incidentally, the orchestra’s name is something of a slightly dark in-joke. They play without a conductor, hence they have no head. Salomé is the Biblical figure who asked her father to behead John the Baptist.

    Tickets for both concerts at Nova’s Ark are $20, with children under 12 free on Aug. 25, and both will conclude with a post-concert reception. More information about the concerts, the orchestra, or the competition can be found at SaloméChamber.org.

   It was a world of disconnection through over-connection that Ray Bradbury foresaw in his 1953 short story “The Murderer.” A world in which people’s ears were filled with music as they walked through their days, staying in moment-to-moment communication through their phones with their job, their friends, their lovers, their families. Connected, yet isolated from the world around them.

   While “The Murderer” describes the world we live in today, there were details that he missed. Like all great science fiction, the story when first published must have seemed impossible. But as the world evolves, we realize that it was not far-fetched, it didn’t go far enough.

   Bradbury didn’t foresee ear buds and tablets and the Internet and texting. But he caught the gist of the Western world, circa 2013.

   “They were almost toys, to be played with, but the people got too involved, went too far, and got wrapped up in a pattern of social behavior and couldn’t get out, couldn’t admit they were in, even,” the murderer tells his prison psychiatrist.

   Now, the actor Christian Scheider and the artist Tucker Marder have put together a creative team to bring Bradbury’s story to the stage. Less a play and more an event, “The Murderer” will be performed from Friday, Aug. 23, through Aug. 25 at 8:30 p.m. at the Old Whalers Church in Sag Harbor.

   The two men talked with a reporter last weekend about their collaboration. It began when Mr. Marder came to Mr. Scheider with the short story. “I told him, ‘You’ve got to read this,’ ” Mr. Marder said.

   The two co-authored the stage piece, with the blessings of the Bradbury estate, Mr. Scheider said. They are collaborating with Forest Gray, a composer who is currently interning with the noted film score composer Carter Burwell. The piece incorporates puppetry, synthetic opera, and human voice, embodied by the singing of several members of the Choral Society of the Hamptons and the Old Whalers Church Bell Choir.

    And, of course, the three actors: Mr. Scheider, Madeline Wise, and Britt Moselly.

    It is the noise of the digital world that the character known as “The Murderer” is against, not the people. “Only to machines that yak-yak-yak,” Mr. Scheider said, quoting from the piece.

    Expect the unexpected in this battle between the digital and the analog worlds, and it’s not all gloom and doom. “All the technology in the world is represented by one character, a goofy robot,” Mr. Marder, who is also the director, said.

    The interview was conducted at The Star, at a table holding stacks of newspapers and antique typewriters. Mr. Scheider mentioned an app that takes an entire story from The New York Times and condenses it into two or three sentences. Are we getting more information in the digital age, he asked, or less?

    “We want to make it a real debate. Nobody questions the incredible things that technology offers humanity,” he said. “The main character is in love with analog.”

    Both the actor and the artist have local roots. Mr. Marder lives in East Hampton, Mr. Scheider in Sagaponack. Most members of the creative team have local connections as well.

    “We all grew up in a time when there were no cellphones,” Mr. Scheider said. “We have seen both sides of it. It’s a question we all deal with every day. How much are we going to accept the virtual world?”

    The two revel in causing a little theatrical insurrection. Mr. Scheider, who is a believer in the Stella Adler approach to theater and art, spoke of the original Group Theater production of Clifford Odets’s “Waiting for Lefty” in 1935, at the end of which New York audiences joined the actors in chanting, “Strike! Strike! Strike!”

    But the two will feel artistically successful with a much quieter result. When the show ends, Mr. Marder said, “I’d love for somebody’s cellphone to vibrate, and they have a moment’s hesitation.”

    Mr. Bradbury would surely have agreed.

   Sophie Chahinian can easily relate to many of the artists she profiles.

   Specifically, the creative process and its tendency to drudge up the fear of the unknown, the fear of execution, and the fear of failure.

    Earlier this summer, Ms. Chahinian decided that enough was enough. After several false starts, she finally threw caution to the wind and plowed forward on a project that’s been years in the making.

    Since 2006, she has poured her spare time and energy into something called the Profile Archive. Now a Web site, it houses short-form video profiles of contemporary artists who speak about their own work, in their own words.

    “Some of the best stories I’ve heard about art come from the artists themselves,” Ms. Chahinian said on a recent afternoon over coffee in the garden of c/o the Maidstone in East Hampton. “If you put them in front of a microphone and let them speak their stories, in their own words and in their own space, some very interesting stuff comes out of it.”

    Though the current crop of two videos (with two more in the works) were funded out of her own pocketbook, Ms. Chahinian recently launched a campaign on Kickstarter, a Web site used predominantly by creative people to solicit seed money for various projects, to help pay for additional profiles.

    Since launching the campaign on August 1, 11 backers have pledged around $6,000. But with around 20 days to go, the project will only be funded if she can reach her goal of $25,000 between now and Sept. 5.

    A graduate of Occidental College in California, Ms. Chahinian grew up in an Armenian family in a suburb Los Angeles. As a child, her father worked as an aerospace engineer and her mother was a homemaker.

    Seven years ago, she relocated to East Hampton. Drawn to its “beach-town vibe” and proximity to Manhattan, she moved to the South Fork after completing a Master’s degree in contemporary art at Sotheby’s Institute of Art in London.

    The Profile Archive is her passion project. She pays the bills by working as a real estate agent in the East Hampton office of Douglas Elliman. “I finished my thesis and sort of fell into it,” Ms. Chahinian explained of her day job. While in Los Angeles, she worked as an actress and an executive producer. “Art is my background. It’s what I studied. No one is ever a real estate major.”

    Since launching the campaign, one possible model has arisen where benefactors can elect to fund individual videos of their favorite artists. Each seven-minute video costs around $5,000 to make. Recently, William Rayner, an artist and former Condé Nast executive, challenged Ms. Chahinian to track down Ellsworth Kelly, a painter, sculptor, and printmaker, with the possibility of funding his profile.

    In terms of other artists, she named Ross Bleckner, David Salle, April Gornick, Miriam Schapiro, Jack Youngerman, Brian Hunt, Chuck Close, Julian Schna­bel, George Condo, Richard Prince, Cindy Sherman, Keith Sonnier, Alice Aycock, Malcolm Morley, and Jennifer Bartlett among several other contenders.

    Her ultimate goal is for the Profile Archive to include hundreds of short videos. Eric Fischl, a Sag Harbor painter and sculptor, and Yinka Shonibare, a London artist who works in mixed media, are already featured on the Web site. An interview with Dan Graham, whose work was the subject of a 2009 retrospective at the Whitney Museum of American Art, is in the final stages of being edited.

    “The truncated format is compelling for this day and age, with people’s attention spans being what they are,” said Ms. Chahinian, who sees the videos as providing an essential starting place — whether for a student, art collector, or gallery owner looking to begin a more detailed exploration.

    “When you can hear an artist speaking about their work and being able to see them and knowing what they look like, it adds a dimension to viewing their artwork,” she said. Though Ms. Chahinian conducts each interview, she never appears on camera. “It lends a lot of texture to the art-viewing experience.”

    She can’t help but dream of someday profiling East End artists. Funding permitting, she hopes to escape the dreary winter months, from January until April, by conducting interviews with Los Angeles artists in the southern California sunshine.

    When it comes to selecting profile subjects, her one condition is that they must be recognizable — and over the age of 35.

     “They have to be museum-quality artists. We’re not looking to interview an eccentric neighbor who watercolors on the side,” she said. Of the age limit, she is interested in speaking with artists who have chosen to make it their full-time career, not as a vehicle to feature 20-somethings, fresh out of art school. “The life of an artist is not for the faint-hearted.”

    Earlier this month, when she finally pressed launch on the Kickstarter campaign, she felt an immediate sense of urgency, coupled with excitement. “It felt really good,” said Ms. Chahinian. “You just never know. It could really develop a life of its own.”

    And to those who questioned the timing of her campaign, launched at the peak of summertime pandemonium, she offered the following: “We live in vacationland and if we don’t have enough people here in August to fund a project in the arts, when do you think we’ll ever get them?”

QF Gallery’s Tete-a-Tete

    Mickalene Thomas will serve as curator for the next QF Gallery show, opening on Saturday in East Hampton. The show features work by Derrick Adams, Zachary Fabri, LaToya Ruby Frazier, Deana Lawson, Nicole Miller, Zanele Muholi, Wangechi Mutu, Hannah Price, Paul Mpagi Sepuya, Malick Sidibe, Xaviera Simmons, Mickalene Thomas, and Hank Willis Thomas. It includes video and photography from Africa and the United States.

    The curator is interested in the different ways gender plays a role in how black artists present themselves in performance.

    The show opens with a reception on Saturday from 6 to 8 p.m. and will remain on view through Sept. 15.

Dalessio Solos

    Work by Marc Dalessio will be presented in a solo exhibition at Grenning Gallery in Sag Harbor beginning Saturday with a reception from 6 to 8 p.m. The plein-air painter brings back scenes from around the world. His latest works are from Sweden, Switzerland, Ireland, Italy, and California.

Still House Group

    The Fireplace Project in Springs will show work by the Still House Group tomorrow through Sept. 23. A reception will be held on Saturday from 6 to 8 p.m.

    The group is in the Red Hook neighborhood of Brooklyn and was founded to create a collaborative environment in a shared production and exhibition space. It has eight artists as well as a residency program.

    Artists featured in the show will be Isaac Brest, Nick Darmstaedter, Louis Eisner, Jack Greer, Alex Ito, Brendan Lynch, Dylan Lynch, and Alex Perweiler. This summer they held a residency program in an Amagansett barn. The show is a document of their time there and whether or not the change in environment affected their work.

Ille Arts: Brown and Christensen

    E.L. Brown and Don Christensen will have individual shows at Ille Arts in Amagansett beginning tomorrow. Each show will have a separate reception. Mr. Brown’s will occur on Saturday from 6 to 8 p.m. Mr. Christensen’s will be held on Sunday from 5 to 7 p.m.

    Mr. Brown will be showing small abstract oil paintings, no larger than 18 by 24 inches and works on paper from the last two years. The paintings are marked by bold color and contrasts and flat forms on gray and black grounds. The artist, who was a studio art major at Vassar College, is a co-owner of Tibor de Nagy gallery in New York City.

    In Mr. Christensen’s show “In the Color Pocket,” his abstract paintings will have a variety of supports, including old vanity tables.

Demato Shows Two

    “Enchanted Impressions” at the Richard Demato Gallery in Sag Harbor will feature two artists, Andrea Kowch and Phillip Thomas, each with their own floor in the gallery. The show will open Saturday with a reception from 6 to 8 p.m. and remain on view through Sept. 21.

    Ms. Kowch’s paintings are realist but the slightest bit surreal. They feature meticulous detail and the sense that something is off or amiss. They allude to dreams and the realm of fantasy.

    Mr. Thomas also approaches realism in a very personal way. He adopts and adapts classical painting styles and subjects to his own black culture, placing more modern figures in more traditional poses and settings.

Zigmund on the Road

    The Parrish Road Show, a summer series of exhibition-related events away from the museum, will bring an Almond Zigmund installation to the Sag Harbor Whaling Museum beginning Saturday with a reception from 6:30 to 8:30 p.m.

    “Interruptions Repeated” is two large sculptural works using geometry and vivid color to bisect the room, providing a counterbalance to the ornate Greek Revival structure. The work is reminiscent of barricades or other structures that can’t be bridged. Ms. Zigmund received her B.F.A. from Parsons School of Design and an M.F.A. from the University of Nevada, Las Vegas.

    The show will be on view through Sept. 10. Another show by Sydney Albertini will remain on view at Duck Creek Farm in Springs through Sept. 2.

Padula at Library

    The John Jermain Memorial Library in Sag Harbor will hold a reception for Walter Padula’s digital photographs of the Sag Harbor bridge on Saturday from 3 to 5 p.m. The show will remain on view through Sept. 27.