Perlman Music Program

    The Perlman Music Program celebrated the opening of its new Kristy and James H. Clark Arts Center last week, on its Shelter Island campus. Programs this summer include, in addition to the summer music school, a chamber music workshop, an alumni concert, the “Tutti Suonare” chamber music concert weekend, and the annual summer benefit.

    The benefit will take place this year on July 28 at a private residence on North Haven, and will feature performances by the program’s string orchestra and chorus, conducted by Maestros Itzhak Perlman and Patrick Romano. Tickets are available in advance from Katie Nojima at [email protected].

A Night of Comedy

    The Bay Street Theatre’s next attraction is a one-off: a night of comedy, on Saturday at 8 p.m., called Big and Tall: An Evening with Bruce Vilanch and Judy Gold.

    Mr. Vilanch, an actor, writer, and six-time Emmy Award winner, is head writer for “Hollywood Squares.” He both wrote and starred in the Off Broadway hit “Almost Famous,” about his life in and out of show business.

    Ms. Gold, who regularly appears on “The View” and Comedy Central, starred in two Off Broadway shows, “25 Questions for a Jewish Mother” and “The Judy Show — My Life As A Sitcom.” She has appeared before at Bay Street, in performances that are invariably sellouts.

    Tickets begin at $65 and go up to $100, which includes an after-party at which the two stars will mingle with the crowd.

Eat Drink Local

    The Silas Marder Gallery in Bridgehampton will be jumping on Saturday night, with various food-related events and related films, sponsored by the Parrish Art Museum, in partnership with Edible East End.

    The Eat Drink Local Film Festival, as it’s called, begins at 5 p.m. with the opening of the exhibition “Past and Pres­ent.” At 6, Mary Woltz will give a honeybee demonstration and offer samples of local honey from Bee’s Needs. At 7:30 p.m. locally produced foods will be offered for purchase, including tacos from Estia’s Little Kitchen in Sag Harbor, beer from the Greenport Harbor Brewing Company, cheese from Mecox Bay Dairy, and a selection of Peconic Bay oysters. 

    A half-hour screening of short films and videos about farmers, fishers, vintners, and other regional food purveyors, donated by LTV from its archives and programmed by Andrea Grover of the Parrish, will begin at 8:30 p.m. It is free of charge.

    The event is part of Eat Drink Local week, a celebration organized by Edible magazines on the North and South Forks, with partner restaurants. In case of rain it will take place on Sunday.

From Jazz to Soul

    Saturday night’s free attraction at the Montauk Library is “From Jazz to Soul,” featuring song classics and jazz from the ’30s through the ’60s.

    The 7:30 to 9 p.m. event pays tribute to Billie Holiday, Ella Fitzgerald, Etta James, Gladys Knight, and Aretha Franklin, among others.

   The first time Daisy Jopling performed at Guild Hall, in December, it sealed her reappearance there. Ms. Jopling, a violinist of international acclaim, will appear at the cultural center next Thursday night, this time with the Daisy Jopling Band, an ensemble of world-class musicians with a program quite different from Ms. Jopling’s solo six months ago. But the fire in her violin performance is just as hard to ignore.

    Michael Clark of Crossroads Music and Randolph Hudson III, Guild Hall’s musical director, were united in their efforts to bring Ms. Jopling back for a night of her own at the John Drew Theater, an event that will give its audience a preview of the group’s first CD, “The Healer Within,” to be released later this summer. Few of the original compositions or arrangements have been heard outside a studio.    

    What can we expect besides Ms. Jopling’s spectacular vitality and classical precision? Her quartet can be celebrated for their own talents, with Ben Zwerin on bass, Doug Yowell on drums, and Christine Cadarette of Amagansett, a local teacher and professional studio musician, substituting for the band’s regular pianist, Daniel Minteris. Altogether, a quartet of impressive experience and virtuosity.

    Natalie Sepp, a young vocalist and student of Ms. Cadarette, will sing with Ms. Jopling, on her request. Ms. Jopling takes every opportunity to play, work, or sing with aspiring young talent.

    Any attempt to describe the sound of the Daisy Jopling Band would be a fool’s errand, unless the words came from the violinist herself. Describing the band’s forthcoming CD, she writes on the Web that “our intent with this album is to forge a new path ahead for classical music: keeping it fresh, creative, and innovative, whilst not losing the virtuosic, intellectual, and spiritual prowess of these great composers.”

    She is passionate in expressing gratitude for her band’s worldwide reception:  “. . . We are so grateful to all our fans around the world who have consistently given us standing ovations for every concert we have ever played. So far we have been to Germany, Mexico, and Turkey.” To that we can now add New York, the band’s home. 

    Next Thursday’s concert will include modernist interpretations of works by the great 18th-century violinist-composer  Antonio Vivaldi. Free rein is given to the arrangements of his “Four Seasons” concertos. These transformations of classical themes prove to be skillfully rejuvenated, invested with energy and invention. 

    “Classical rock” is a phrase imposed on classical music molded or twisted and die-cast for popular consumption. Instead, the Daisy Jopling Band finds new ways to savor classical material, while reaching beyond it. The technical mastery and musicianship of the group are plainly evident, and so is their sense of enjoyment.

    In a short time, this band has found an alchemy that has produced a prolific number of wonderful original pieces, with titles such as “Viento,” an amplification on “The Four Seasons.” Each offers refreshing surprises, purely original musical ideas, and a prevailing sense of authority over sometimes complex arrangements.                       

    Ms. Jopling, an Englishwoman, seems to radiate a field of positive energy from her very core. Hers is a storybook tale worth the telling.

    Her father, who attended Eton, was an attorney who became a noted ecologist.  He also played the viola. Her mother served as secretary to the Queen Mother at Buckingham Palace, and afterward taught French. It was a parental decision to bring their daughter up in the countryside, and they bought a house near rural Colchester, an hour’s train ride from London. It was in this neighborhood that Mr. Jopling started a local orchestra.

    By age 5, his daughter began playing the violin. Even before that, she had yearned to be allowed to play. She had an aunt who not only played the violin but also, prophetically, conducted a summer camp for string-instrument players. The child found herself amid violins, violas, and cellos before she could ride a bicycle. In a close-knit family, an aunt like that made for a year-round violin teacher. Until the age of 14, Daisy either took lessons or taught lessons in violin at the music camp.  The violin and the music written for it were fairly grafted onto her soul. 

    At 14, Ms. Jopling was invited to perform at the Royal Albert Hall, playing solo violin in Bach’s “Concerto for Violin and Oboe.”  She proved a fearless and radiant performer.

    She next attended the Royal College of Music, where she led the college orchestra and graduated with honors. A few gifted young musicians from all over Europe are selected to play summers with the European Youth Orchestra, which tours the world’s great cities, staying in five-star hotels, playing to audiences of 2,000 or more in venues such as Carnegie Hall. Ms. Jopling was with the youth orchestra from age 16 to 19, and later toured with the Chamber Orchestra of Europe, playing with conductors and soloists who were rock stars of the classical world.

    Over the next 12 years she continued to study violin at the Vienna Conservatory, and opened the May 2005 Vienna Festival with Omara Portuondo before an audience of 30,000, prior to her co-creation of the enormously creative string trio “Trilogy.” Trilogy signed with BMG as well as RCA for a total of four very popular CD recordings.

    For the past 10 years Ms. Jopling has been a visitor to Amagansett, where an aunt of hers lives.

    Far removed from the subdued ambience of the usual instrumental quartet, the Daisy Jopling Band liberates all the possibilities of three top instrumentalists led by an extremely accomplished violinist.  That’s why it is called a “band.”

    Tickets are available online at guildhall.org or at the box office, as well as theatermania.com. Tickets cost $25, or $40 for V.I.P. seating, including an opportunity to meet the artists after the show. Tickets are also available at Crossroads Music in Amagansett Square.

   The summer concert of the Choral Society of the Hamptons will take a British theme to mark the Queen of England’s Diamond Jubilee and the opening of the Olympic Games in London in July.

    The group will perform on July 7 at 7 p.m. at the parish hall of Most Holy Trinity Catholic Church in East Hampton. Joining the members will be the South Fork Chamber Orchestra and four soloists: Anita Johnson, a soprano; Charlene Marcinko, a mezzo-soprano; Eapen Leubner, a tenor, and Frank Basile, a basso cantante.

    They will perform Haydn’s “Lord Nelson Mass” and two of Handel’s Coronation Anthems reminiscent of his “Messiah,” as well as a sinfonia from “Solomon.”

     Continuing the English theme, the society will hold a high tea benefit before the concert, from 4:30 to 6:30 p.m., with tea sandwiches, rosé wine, and Pimm’s Cup, a cocktail typically of ginger ale, Pimm’s No. 1, and cucumber, familiar to those who frequent Ascot or Wimbledon. The tea will be held at the Living Room restaurant @ c/o The Maidstone.

    According to the society, the “Lord Nelson” is considered Haydn’s greatest mass and his most popular. The piece has long been associated with Admiral Horatio Nelson’s victory over Napoleon at the Battle of the Nile, even though Haydn had reservations about the war.

    The composer was Austrian, but he had strong British connections. He and Nelson became friends after Nelson heard the piece, and Haydn’s last 12 symphonies all had their premieres in London.

    Mark Mangini will direct the society’s 60 voices, the soloists, and a 20-piece orchestra, including 14 strings.

     Handel became a British citizen on the order of George I and thereafter composed several coronation anthems for George II and his queen, Caroline. They have been performed at every British coronation since. The orchestral piece from “Solomon,” with its arresting duet for two oboes, is a processional for another royal figure, the Queen of Sheba, dramatizing her entrance into Solomon’s court.

    Ms. Johnson has performed at the Metropolitan Opera and at the White House for the Obamas. Ms. Marcinko has performed with the National Philharmonic and at the Choral Society’s presentation of Mozart’s “Requiem.”  Mr. Leubner is a veteran of several opera companies, from Alaska to Brooklyn. Mr. Basile sings opera, jazz, and “everything else,” everywhere from the Met to his own cabaret show, which is dedicated to his wife, Celeste Holm.

    Tickets for the tea and concert are available on the society’s Web site, choralsocietyofthehamptons.com.

   How often does a true Hollywood ending happen in real life? Maybe more than immediately comes to mind, but still, not that often. The first film in the Hamptons International Film Festival and Guild Hall SummerDocs series, to be shown on Friday, July 6, has that Hollywood ending with an added surreal twist, and it is all a true story.

    Most people in this hemisphere outside of Detroit have never heard of Sixto Diaz Rodriguez. Yet at one point two Motor City music producers, Dennis Coffey and Mike Theodore, who had worked with Stevie Wonder and Marvin Gaye, among others, thought they’d found the next Bob Dylan when they heard Mr. Rodriguez playing in a local bar in the late 1960s. The two records they produced of the singer, songwriter, and guitarist never went anywhere, however, and he was forgotten. Mr. Rodriguez took menial jobs while he roamed the streets of Detroit, stopping here and there to share his music, a well-known mystery man behind his dark glasses, drawing attention for walking instead of driving in that car-centered city.

    A few years later in a world away, however, his folksy psychedelic funk style made it big in apartheid-era South Africa. There, his lyrics of universal protest caught on with young people, although the repressive regime had banned the album.

    Malik Bendjelloul, the director of the documentary “Searching for Sugar Man,” which tells this story, said the bootlegs of Mr. Rodriguez’s first album, “Cold Fact,” made him as big there as Bob Dylan and the Rolling Stones were everywhere else. According to a press release, the number of records that circulated would have earned the album platinum status had they been sold through the legal marketplace.

    Rumors and legends began to grow around the artist in South Africa, where he was thought to be dead, a victim of violence or a suicide who had set himself on fire while onstage. Finally, two fans set out to find out what had actually happened. Their search, in the late 1990s, took them to Detroit, where they found out that not only was their idol still alive, but he was still playing — which is where the story becomes really interesting.

    Mr. Bendjelloul’s prior documentaries have featured such musicians or bands as Bjork, Sting, Elton John, Rod Stewart, Madonna, Mariah Carey, U2, and Kylie Minogue. He has been casting about for a good story in Africa and South America for a few years, he said. “I found the story eight years after he was rediscovered and the 1998 concert he did in South Africa.” Although he was not on the spot for the events, he was able to put the story together through interviews with the key players and archival footage of the artist and of the country during apartheid.

    Mr. Rodriguez was told his album was bigger there than the Beatles’ “Abbey Road.” He was invited to perform a series of concerts in arenas that seated as many as 30,000 people, about 30 concerts in all over four visits from 1998 to the present. His records have been re-released to positive reviews, and he is now playing at folk festivals and other events in the United States. He is scheduled to be on the David Letterman show soon.

    Mr. Rodriguez seems to take it all in stride. In those huge South African concerts, “he only forgot the lyrics a couple of times, but the audience just sang them for him. They knew them by heart,” said Mr. Bendjelloul, adding that the attention has not gone to the singer’s head. “He is a humble, private man. He has so much integrity it was hard to get him to open up.” 

    Imagining South Africa without Mr. Rodriguez would be like imagining the 1960s without the Beatles or the Rolling Stones, said the documentarian.

    “It’s crazy. He was as big as Dylan over there. If you walk the streets of Cape Town and ask people who Rodriguez is, everyone would know." He said he made the movie because he wanted people to hear his songs and “it’s the best true story I have ever heard.”

    Alec Baldwin will host the screening at 7 p.m. and lead a discussion with the director following the film. Tickets are $22; $20 for Guild Hall members. A limited number of V.I.P. tickets for $100 include a post-party at c/o The Maidstone.

    The SummerDocs series will include five presentations. The next one is July 21, a Saturday, at 8 p.m. with “Detropia.” Mr. Baldwin will discuss the film with its directors Heidi Ewing and Rachel Grady following its screening. This is the fourth annual presentation of this series.

   Joe Pintauro’s adaptation of Peter Matthiessen’s book “Men’s Lives,” which had its premiere as the inaugural production at the Bay Street Theatre 20 years ago, will be revived there again beginning with previews on Wednesday with an opening night on July 7. The play, directed by Harris Yulin, will run through July 29.

    That first production of “Men’s Lives” struck a chord in the heart of the South Fork community, a reverberation that affected not only those faithful arts patrons who attended the performances but the backbone of this area — the fishermen and their families.

    It couldn’t have come at a better time. Inside the theater on Sag Harbor’s Long Wharf — which was carved from a former nightclub by Mary O’Connor, an architect — sail-like grommeted canvas was slung between heavy logs, giving the audience the impression, as they entered the theater, that they were under a pier.

    Outside the theater, on the beaches and in Washington, D.C., the “bass wars” between the government and the baymen and the rod-and-reelers was getting ugly. The day before the play previewed, the Baymen’s Association staged a protest on a beach in Amagansett, with about 20 baymen and more than 200 assorted supporters and celebrities including then-East Hampton Town Supervisor Tony Bullock and Billy Joel illegally fishing for striped bass with a haulseine net. Many were escorted away by the police, some in handcuffs, to the delight of the national press.

    Billy Joel’s song and music video of “The Downeaster Alexa” — featuring the familiar faces of baymen like Billy Havens, Jens Lester, and Danny King, with his memorable stars-and-stripes dory — had also catapulted the plight of the baymen into the public eye.

    To say the time was ripe for the opening of “Men’s Lives” at Bay Street would be a glaring understatement.

    And, according to Murphy Davis, Bay Street’s artistic director, and Mr. Pintauro, the work is more significant than ever.

    “Murphy and I were both amazed at the first reading,” Mr. Pintauro said. “The essence of what was in it is still in it. At the first read-through, it was as if the present caught up to the play. I think it’s more relevant now than it was even back then.”

    “If you talk to people, any people, about their jobs, their lives, what they bring to the world, their calling, the same feeling is basically shared by everyone,” Mr. Pintauro said. “Work is not about time and money, it’s about character. This is about people losing their homes, their lives, their souls, but still fighting, fighting right this very minute.”

    For Mr. Davis, the decision to bring “Men’s Lives” back to Bay Street was a very personal one. “At this time last year, when we were deciding the 2012 season, we didn’t know if we were going to have this space anymore. We didn’t know what our future would be. What did we want to do in what might have been our final season on Bay Street?” The play, also, is “a seminal point of success of how the theater started.”

    Although two of the founders, Stephen and Emma Walton Hamilton, have moved on, Mr. Davis acknowledged “what they did to bring this play to life. They are an integral part of this piece,” he said.

    Mr. Davis agreed with Mr. Pintauro that “Men’s Lives” touches everyone. “In the face of loss, something survives,” he said.

    Over the past week, some of those involved with the first production and with Bay Street’s opening 20 years ago shared their memories.

    Sybil Christopher, a co-founder of the theater, remembers saying to Mr. Hamilton, “A play about a fish? Are you mad?”

    “But then I read what Joe had written and changed my tune very quickly, as you can imagine. Emma’s input was huge, just huge. She worked on it all day, every day, from start to finish,” she said, and “it all led to a wonderful beginning, the opening night. I had friends there, good friends, who couldn’t even speak to me after the play. They were overwhelmed and overcome. Totally speechless.”

    “ ‘Men’s Lives’ was, and remains, a creative high point of my life,” said Ms. Walton Hamilton. “The synergy of the political events happening at the time, the birth of the theater, and the unique nature of the production itself made for an unparalleled experience for everyone involved. I will never forget it.”

    Etched in Mr. Hamilton’s mind is “the day the baymen were on the beach in Amagansett being hauled away in cuffs by state troopers, and that same evening watching those same faces in the audience at Bay Street as they witnessed their own stories on stage in Joe’s beautiful piece. Some of them had never seen a play before in their lives. Those were the days we learned what theater could do."

   "For some time I floundered in my efforts to come up with an iconic scenic item that might innately suggest the saga of the baymen's wretched predicament, and also serve as a useful staging centerpiece," Tony Walton, who was the designer, said in an email. "I shared my problem with Joe Pintauro, who mentioned that he had heard of a wrecked portion of a still-recognizable boat hull, which, during storms, had sometimes been tossed up on the beach near Amagansett, but was soon drawn back into the unruly ocean."

     Cloaked in a cold grey February mist, they went to find it. "We could still make out the long and completely deserted stretches of beach to the left and to the right of us. Yet in front of us, down at the water's edge, loomed the very wreck that Joe had heard about," Mr. Walton said. "Gleaming wet, with a quietly disturbing aura emanating from it, it immediately appeared to me to convey the heart-rending essence of the hard and rapidly-disappearing haulseining life and livelihood of the baymen."

     "Our wrecked and ruined remnant, so unexpectedly offered up to us by the upquiet ocean, most hauntingly evoked the very spirit of Joe Pintauro's beautiful play," Mr. Walton said.

     "Tony Walton mentioned one day, with a distinct measure of excitement, that there was a washed-up cracked hull of a boat on the beach that he thought may be useful," wrote Chris Smith, who directed the original production. "He made a little freehand sketch of the upturned hull on a bare stage of sand with a cloth stretched up to the rafters like sail behind it. With those brief strokes, a challenging and cinematic play found its extraordinary, elemental home."

     The sketch, signed by Mr. Walton and framed in rustic wood, is among his most prized possessions, he said. 

     "To be honest," Mr. Smith said, "we were not entirely sure how the production would be received. We had a gorgeous script, tremendously talented cast, and thrilling new space, yet it was all very, very raw. And we were telling an emotional story about the East End to itself. Feeling both miraculous and destined, however, it all came together."

     "To have been involved in the original production of 'Men's Lives' was a rare priviledge," wrote Arnold Leo, who at the time was secretary of the Baymen's Association. "Extraordinary care was taken by everyone to make the reality of the baymen come alive on the stage." And on opening night, he said, "a vital and essential element of the original, traditional East End community lived and breathed that night on stage."

     "Dan and I pulled out an old Newsday review of the play last night," wrote Marsha King, Danny King's wife. "It did exactly what we anticipated -- stirred up emotions that had been buried for some time . . . Similar emotions had shown themselves the night we sat amongst the 'upstreeters' and the summer people who watched 'Men's Lives' with us at Bay Street Theatre."

     "We don't remember which emotion was strongest," Ms. King said, "pride at being recognized as 'one of the baymen' or awkwardness at being there amongst the people who 'do summers' in the Hamptons, and whether they recognized it or not, were part of the reason the baymen's  way of life was being destroyed. There were many times that the characters in the play said or went through things that only those who had fished the waters could truly understand. We were reminded that the ocean was an equal part of a relationship with each of us.”

    “What I remember are the baymen, Billy Havens especially,” said David Eigenberg, an actor who played Popeye. “They took a bunch of us actors out to the ocean and put us in a dory. Billy, I think, was driving the dory or the truck into the waves. To think that amazing way of life is gone really makes me sad.”

    Mr. Havens remembered the first day he met the cast and listened to them read their lines. “I said to myself, ‘They’re not going to cut it with our Bonacker lingo.’ So when I left that night I went home with the script in hand and taped all of David’s lines and did the same for Jay [Patterson] and Jack [Hannibal].” The actors were thankful, “because they wanted to tell the story of ‘Men’s Lives’ and sound original and they did one hell of a job. I guess that’s why they call them actors.”

    “The sense of all being in it together was everywhere,” said Randy Freed, the sound designer. “At 2 a.m., my 3-year-old daughter, Georgia, could be found asleep on a pile of pillows in a back row as I worked, hanging speakers or rigging C.B.-style microphones to the hull of a magical boat that had washed ashore just for us.”

    “How did I write this, all that time ago?” Mr. Pintauro said he asked himself when hearing the play read again for the new production. “It didn’t feel 20 years old. It’s about people being more or less crowded out by wealth and progress. It’s still topical now, but to many more people. It’s a great war that should not be overlooked.”

    Bridget LeRoy is the stepdaughter of Tony Walton and stepsister of Emma Walton Hamilton. Randy Freed is her ex-husband.

Pollock Lecture

    Bobbi Coller, a co-curator of “The Persistence of Pollock,” will present a gallery talk on the exhibition at the Pollock-Krasner House on Sunday at 5 p.m. A reception will follow.

    Ms. Coller is an art historian and the chairwoman of the Pollock-Krasner House advisory committee. She will discuss how the committee selected the 13 artists in the show and the ways in which those chosen address Pollock’s legacy.

    The lecture is free; no reservations are necessary.

Art Walk Returns

    Kathy Zeigler is bringing back her gallery-centered art walk, on Saturday from 5 to 8 p.m. The name has changed from the East Hampton Gallery Walk to ArtWalk Hamptons, but it still takes place in East Hampton Village.

    This year it is a self-guided tour, which begins at Sotheby’s Realty at 6 Main Street, where there will be a reception and maps will be available. Information can be found online at artwalkhamptons.com.

    Participating galleries include Birnam Wood, Davenport and Shapiro, Halsey Mckay, Eric Firestone, Gallery Valentine, Wallace, Vered, and others. Guided tours by Esperanza Leon and Pat Rogers will leave from Sotheby’s, with proceeds to benefit the Clamshell Foundation. Places can be reserved by e-mailing [email protected].

Last Days of Auction

    Vered Gallery’s annual silent art auction will remain open until Saturday at 7 p.m. The gallery will mark the closing with a party from 5 to 7 p.m., to which all have been welcomed.

    Of the more than 100 lots in the auction, the sale of six will benefit the Sheba Medical Center’s new Hopeful Dawn Institute for the research and treatment of post-traumatic stress disorder.

    Big names among the artists include de Kooning, Picasso, Arman, Dubuffet, de Chirico, Milton Avery, Oscar Bluemner, Joseph Stella, Romare Bearden, Perle Fine, Niki de Saint Phalle, Robert Mapplethorpe, Tony Smith, and Cindy Sherman.

     Bids will be accepted at the gallery, which is open daily from 11 a.m. to 11 p.m.; at the closing party, or at the Vered Web site, veredart.com.

Parrish Offers Painting Classes

    Barbara Thomas is returning to the Parrish Art Museum to teach a series of classes, one series focusing on gardens and another on more general plein-air settings.

    “Garden Painting” will be held at several sites on Tuesdays beginning July 17, from 9:30 a.m. to 12:30 p.m. for five sessions. The sites will include Bridge Gardens, the Madoo Conservancy, the Leiber garden in Springs, Villa des Amis, and the garden of Mark Hampton, the interior designer. All classes will use gouache.

    “Painting en Plein Air” will be held on Thursdays beginning July 19, for five sessions ending Aug. 16, from 9:30 a.m. to 2:30 p.m. For this class, Ms. Thomas, a landscape painter with over 30 years’ experience, will choose a variety of settings such as fields, wetlands, bays, and farmland.

    Students will learn the tricks of the trade for capturing nature quickly and successfully, while learning composition, rendering, paint mixing, textures, and more, along the way — and, most important, how to create beautiful paintings without weighing oneself down with a lot of supplies. A variety of mediums will be taught in this class.

    The two series are open to both beginning and experienced painters ages 15 and up. The cost for each is $300 for Parrish members, $350 for nonmembers. Class size is limited and advance payment and registration, available online at parrishart.org, are required.

Artist Alliance Show and Tour

    The Artists Alliance of East Hampton, which was founded in 1984 in honor of Jimmy Ernst, will hold its annual summer studio tour and member exhibit this weekend.

    The member show will include paintings, drawings, sculpture, mixed-media works, and photographs. It opens tomorrow at Ashawagh Hall in Springs with a reception from 5 to 8 p.m., and will be on view through July 15. On Wednesday there will be a workshop conducted by Golden Artists Paints, and on Friday, July 13, the Plein Air Painters of the East End will hold a painting session outside Ashawagh Hall.

    The self-guided studio tour will take place tomorrow and Saturday. A number of artists will allow visitors a look into their work environment, including Casey Chalem Anderson, Rosalind Brenner, Joe Chierchio, Phyllis Hammond, Andrea McCafferty, Martin Megna, Mariann Megna, Alyce Peifer, Mark Perry, Sheila Rotner, Joyce Silver, Christine Chew-Smith, and Athos Zacharias. The studio of Elizabeth Delson, who died in 2005, will also be on the tour. Studios are located throughout the South Fork, from East Hampton to Water Mill.

    Tickets, at $40, admit two people. They are available online at aaeh.org or at Ashawagh Hall during the member exhibit and at all BookHampton stores, the Golden Eagle art supply store in East Hampton, Hampton Photo Arts in Bridgehampton, and Gone Local in Amagansett.

Borghi Summer Show

    Mark Borghi Gallery in Bridgehampton’s “Dive into Summer” group show will open on Saturday, with a reception from 6 to 9 p.m.

    The artists included are Josef Albers, Jean-Michel Basquiat, Alexander Cal­der, John Chamberlain, George Condo, Jim Dine, Eric Fischl, Roy Lichtenstein, Jenny Holzer, Alex Katz, Rich­ard Prince, Ed Ruscha, Andy Warhol and many more.

ArtHamptons to Open

    The first in a series of art fairs this summer, ArtHamptons will open next Thursday with two previews benefiting the LongHouse Reserve.

    This year the fair will be held at Nova’s Ark Project in Bridgehampton, which has a sculpture field of its own in addition to tents and temporary installations. The fair opens to the public on Friday, July 13, and will remain open through July 15. 

    There are exhibitors from New York City, the West Coast, and other parts of the United States; as well as London, Paris, Canada, Korea, and Israel. South Fork participating dealers include Tulla Booth, Richard J. Demato, Peter Marcelle, Mark Borghi, km contemporary, McNeill Art Group, and Birnam Wood.

    A number of special events are planned and can be found on the fair’s Web site, arthamptons.com.

Rachel Kanter at Temple

    “Handmade Ritual,” an exhibit of fiber art by Rachel Kanter, will be on display at Temple Adas Israel in Sag Harbor from tomorrow through Aug. 26. The artist will give a talk at 8 tomorrow night during a reception, which is open to the public.

    Ms. Kanter holds a Master of Fine Arts in ceramics from the Rochester Institute of Technology, School for American Crafts. After working with clay for a decade she began using fiber and quilting techniques in her approach to Jewish ritual objects.

    Her work has been shown at the Contemporary Jewish Museum in San Francisco, American Jewish University, Hebrew Union College, the Society for the Advancement of Judaism, and Temple Emanu-El in New York City. Her piece “Fringed Garment” is in the permanent collection of the Jewish Museum in Manhattan.

Photos in Water Mill

    The Water Mill Museum will hold a photography show to mark the publication of a new book on Robert Wilson and the Watermill Center through Oct. 14.

    The images are of the former Western Union laboratory from 1942 to 1992, which then became the Watermill Center. The show is called “Two Laboratories Converge” and the book, which was published in January, is called “The Watermill Center: A Laboratory for Performance.”

Peconic School in Southampton

    Ann Madonia Antiques in Southampton is showing “American Long Island 19th Century Impressionist and Post Impressionist Paintings” through July. Artists include followers of William Merritt Chase and the Peconic School: Alfred Bricher, David Burliuk, Walter Clark, Nicolai Ci­kov­sky, Rachel Hartley, Edward Moran, Percy Moran, Edith Prellwitz, Henry Prellwitz, Julia Wickham, and Charles Lennox Wright III.

Dow and Jennings in N.Y.C.

    Elizabeth Dow and Janet Jennings are on view together in “Meridian,” an exhibition at the 1st Dibs Gallery in the New York Design Center in Manhattan.

    Ms. Dow’s textiles and hand-painted wall coverings are in the collection of the Smithsonian. Her noted clients include Paul Simon, Harrison Ford, Bill Gates, Estee Lauder, Tiffany, the Peninsula Hotel, and the Oval Office at the White House. Her paintings are naturalistic and explore color, motion, and surface.

    Ms. Jennings paints in a style she calls “emotional impressionism.” She received a bachelor of fine arts degree from the University of Dayton and attended the Dayton Art Institute and the Art Students League. She moved to New York in 1973 and to Amagansett in 1979, and has taught at the Art Barge, Guild Hall, and the Parrish Art Museum and shown in numerous galleries.

    The exhibition is on view through Aug. 31.

Retreat Call for Artists

    The Retreat will hold its fourth annual juried artists show beginning on Oct. 27 at the Richard J. Demato Gallery. Submissions are being accepted through Aug. 1

    The jurors this year are Christina Strassfield, the curator at Guild Hall, and Kathryn Markel, who has a gallery in Bridgehampton. Their top 25 selections will be in the October show and the winner will have a solo show at the Sag Harbor gallery within a year.

    Entry forms and information are available at hamptonsjuriedartshow. com.

   At the heart of comedy is emotional pain. Pain raised to a heightened level, to the point where all you can do is laugh. And laugh you will at the brilliant revival of Murray Schisgal’s “LUV,” directed by Lonny Price, playing at the John Drew Theater at Guild Hall through July 1.

    “LUV” is an absurdist comedy written in the early 1960s. Set on one of New York City’s East River bridges, it opens with a down-and-out Harry Berlin (Kahan James) preparing to end his life by leaping into the river below. Along comes an old school chum from Polyarts U., Milt Manville (Robert Stanton), who stops and stares as Harry is about to step off the ledge.

    “Is it? No. Harry Berlin!” Milt says to the distraught Harry, and the laughter starts rolling.

    Milt saves Harry from his suicidal self by convincing him that love is the answer to his life of despair, although he has an ulterior motive.

    “You know, I am more in love today than on the day I married?” he tells Harry.

    “You don’t mean —”

    “Yes. But my wife won’t give me a divorce.”

    Milt wants Harry to fall in love with his obdurate wife, who is about to meet him on the bridge, so that Milt can in turn marry his mistress.

    Absurdist theater requires from the actors 100 percent commitment, and yet it is a delicate balance. Give the audience too much, and you will lose them. This trio of actors strikes a near-perfect tone, every moment turning on a dime. You think your life sucks, well, let me tell you about mine.

    The three person cast, which also stars Jennifer Regan as Ellen Manville, works as a well-tuned instrument, playing off each other, listening and responding to each other’s pain with a bit more absurd pain of their own.

    The direction by Lonny Price is masterful. Mr. Price has guided his actors to use every inch of the lovely set designed by James Noone. Mr. Noone gives us a realistic urban bridge, with evocative period images in the background and a sandbox in the foreground. 

    The set is noteworthy also because it gives an insight into Mr. Price’s vision for this piece. The original 1964 Broadway production, directed by a young Mike Nichols, was a groundbreaking one, combining absurdist comedy with the more traditional angst comedy of writers like Neil Simon and Woody Allen. It helped establish its original cast, Alan Arkin, Eli Wallach, and Anne Jackson, as major theatrical stars.

    Mr. Price has stayed true to that production without being slavish, allowing his talented threesome the freedom to spread their wings and soar, finding their own way through the period material, which they happily do. There is a wonderful sense of slapstick and fun in this production, leading to moments of sheer giddy silliness, all revolving around love.

    Mr. James doing a snow angel in the sand after being freed from his despair by the concept of love.

    Mr. Stanton’s gleeful sleaziness as he applies makeup to Ellen, preparing her for her first meeting with Harry, so that he can finally marry his own true love.

    Ms. Regan’s hilarious transformation into chanteuse as she sings about the pain of love.

    The characters all resonate in today’s world. Ellen, perfectly played by Ms. Regan, feels trapped by her own intellect, wishing she could be a ditzy housewife but unable to repress her own intelligence, which threatens men, leaving her isolated and alone.

    Mr. Stanton’s Milt is a conniving, self-centered huckster whose ruthlessness knows no bounds. Mr. James’s Harry carries pathos to a new low, or, perhaps better put, a new comic height.

    While Ms. Regan and Mr. Stanton have strong theater backgrounds, Mr. James’s bio seems more rooted in television, which makes his performance all the more remarkable, stepping into the role, as he did, a  week before previews.

    Mr. Price was and is a protégé of Stephen Sondheim, who, in turn, was a protégé of Richard Rodgers. It is a cornerstone tradition of theater that each generation teaches the next. Watching this production of “LUV,” you will hear faint echoes from the past, from great comics and comediennes like Burt Lahr, Carol Burnett, or, say, Zero Mostel.

    There is only one thing missing from this production, at least on the Friday night I attended: a large and appreciative audience. The house in the lovely John Drew theater was sparsely filled.

    Ellen Manville has a line toward the end of the show, one which Mr. Price highlighted in a pre-opening interview: “We’re all locked up in ourselves, in separate little compartments.” The more desperate the characters become in trying to break out of these compartments, the more we laugh.

    If you want to experience just how funny emotional pain can be, catch “LUV” before it’s too late.

   The restoration of the only extant 19th-century bathhouse in East Hampton Village, one of several outbuildings on the Thomas Moran property on Main Street overlooking Town Pond and the first to be restored, has been completed.

   Of all the structures on the property, the pine bathhouse was in the worst shape, according to Robert Hefner, the village’s director of historic services, who has been working on the restoration project for the Thomas Moran Trust since it took over the property from Guild Hall in 2008. Having completed a report on the artist’s studio and main house, which was designated a national historic landmark in 1965, he turned his attention to the outbuildings, and found that the bathhouse needed immediate attention if it were not to rot away or collapse under a heavy snowfall.

   Early on, it was not even clear what the structure, 4 feet 8 inches by 10 feet 8 inches, had been used for. For one thing, it was blanketed by vines. For another, it had been used as a potting shed and its vertical boards were rotted. Its function as a bathhouse, transported to Main Beach in early summer and back to the Moran house for storage in early fall, likely by horse and wagon, did not make itself apparent until later on.

    There were a few helpful clues. Ruth Moran, one of Thomas and Mary Nimmo Moran’s three children, once wrote to a friend that her family had a little green bathhouse that they’d take to the beach, a comment that Thurman Wilkins repeated in his 1998 biography of Moran: He “had a green bath house built and carted down to the beach every June . . . and back again in October.” In addition, two well-known paintings, “Beach at East Hampton,” c. 1875-1880, by John Ferguson Weir, and “East Hampton Beach, 1881” by Edward Lamson Henry show bathhouses that look very much like the one found on the Moran property. Stafford Tillinghast, who built the main house, may have built the bathhouse as well, but that is not known.

    The goal was to preserve the interior with the frame and build new boards outside. The rotted boards were replaced with old timber given to Mr. Hefner as a gift. The roof had not survived, and the new one, built with “the utmost structural simplicity,” said Mr. Hefner, is of board-and-batten, which, he said, “is rare — you never see a board-and-batten roof out here.” Some of the bathhouses in the Weir painting do have that kind of roof, however.

    The new boards on the outside were custom-made to duplicate the original ones. The inside, divided into two compartments by a five-foot-high board partition, had a bench along the back walls. Mr. Hefner recommends in his report conserving the pine wallboards and painting them their original gray color.

    The clincher could just be the 28 wooden pegs around the perimeter, which would have been used to hang the clothes the family had worn to the beach before changing into their bathing costumes.

    John Hummel Custom Builders moved the tumbledown structure to the barn at the Mulford Farm on James Lane, where Adam Galecki, who runs the Hummel woodworking shop, did the restoration. “He’s very meticulous,” Mr. Hefner said recently. The Hummel company was also called upon for the recent reshingling job on the Hook Mill.

    In the same year that the Moran Trust took over responsibility for the property, East Hampton Village purchased a preservation easement on it, which not only brought in $500,000 of community preservation fund money but also allowed the village to participate in the restoration process. The trust has raised about $4 million to date, and is planning to raise another $4 million, which will provide for an endowment.

    As soon as the trust obtains a special-use permit from the village it will proceed with the restoration of the main house and the other outbuildings. The bathhouse, not being considered a permanent structure, did not need a permit.

    Its restoration will be celebrated tomorrow at the clubhouse of the Bridge golf club on Millstone Road in Bridgehampton. Tickets for the event, which will benefit the Thomas Moran Trust, start at $150.

   The first thing one notices when leafing through Tria Giovan’s new book “Sand Sea Sky: The Beaches of Sagaponack,” is the quiet.

    These are not the sunny, overly dramatic images of roaring waves or electric-blue skies or other things we’ve come to expect from our photographic interactions with the sea. Even when a storm gathers such strength as to be a coal-black cloud hanging ominously above a calm but ebon sea, the effect is show-stopping but static. We sense the impending power of the storm, but it seems to be caught in equipoise, a fleeting threat not yet exercising its full force, or about to dissipate as quickly as it has arisen.

    There is a moody grayness that permeates every image, whether taken in the cold pale light of winter or the intense sun of midsummer. Activity is captured, but frozen as if time is slowing down.

    The wonderful thing is how calming these images are. It is just you, the viewer, and the sea, an increasingly rare phenomenon here, even in the winter. It reminds us not of the days of high-keyed Technicolor enjoyment we are programmed to wait for like starved children each spring, but of the constancy of being here, day in and day out, a seasonless witnessing and vigil.

    Ms. Giovan, who grew up on St. Thomas in the Virgin Islands with summers spent at the ocean in Rhode Island, and who has had a house in Sag Harbor for 15 years, is uniquely well suited to understand what makes our beaches so different from others.

    “I was always near the beach,” she said. The Caribbean’s bright, intense colors mixed with its crowds, cars, dogs, roosters, and lively music to produce hectic, non-stop noise. “Getting to Rhode Island, we would breathe a sigh of relief.”

    She loved the contrast of the two worlds. “The Northeast’s soft colors and waves were so soothing. . . . It became imprinted on my psyche that when I leave a city I go to the beach. It is a place of refuge: safe, quiet, calm, different.”

    The moment being fleeting, when Ms. Giovan sees something she wants to capture, she seizes it. “The subject is not static, and so my movement was very fluid. It became almost a dance.” Although she tried to keep a Zen-like calm, “I was often moving frenetically to catch those moments.”

    Of the storm photo, she said, “I love to swim, but I wanted to capture the image, so I was jumping in the water and jumping out to take the photo, jumping in and jumping out again.” It was summer and “when a storm comes up like that you can feel the energy in the air. It’s very tactile.”

    Her images became collections such as one might gather of shells or other mementos of a beach visit. “I could always find something to take, and I was never bored. They may not have been significant enough to have been included, like seaweed or sand being blown by the wind. Then there are those real obvious times, like when there was the black sky and it’s incredible and your heart’s racing. Then, there’s just no question that there is this great confluence of elements and energy.”

    She was compelled to return again and again to the beach, she said, and realized after four or five years that it was time to get more serious about her work. She has accumulated over a decade’s worth of photos now.

    While the book notes say the images cover all three miles of Sagaponack beach, Ms. Giovan said her favorite was Gibson Lane. “I always go to Gibson and always walk to the right or walk to the left. I don’t know what it is about Gibson, other people say it too, ‘I can only go to Gibson.’ And there’s this core group of people who gravitate to this one place.”

    She still uses film, but does scan her negatives. To print large, it has become the best option, she said. Printing large in the darkroom leads to too much dust on the print and a laborious cleanup process. A scan helps the photographer to see what is really there and pull it out in a way that the traditional printing process cannot.

    “You can see all that is there in the negative. You can’t always get that out of a print,” Ms. Giovan said. “You’re not printing anything that isn’t already there,” the detail is just enhanced by the process.

    A prior book, “Cuba: The Elusive Island,” was published in 1996. Her work has also appeared in publications such as Aperture, Elle, Esquire, Harper’s, Travel & Leisure, and Vogue, and is in the collections of several museums, including the Museum of Modern Art and the Brooklyn Museum.

    The book, which includes an essay by Carl Safina, was published by Damiani Editore and is for sale at the Clic Bookstore and Gallery in East Hampton and in New York City. A number of large-format prints from the book will be on view at the gallery beginning on June 30, with a reception and book signing from 5 to 8 p.m.

Vered Auction

    Vered Gallery in East Hampton will hold a reception for its 14th annual July Silent Art Auction on Saturday from 9 to 11 p.m. The auction will benefit Sheba Hospital’s post-traumatic stress disorder center.

    The auction includes more than 100 lots by modern and contemporary masters, among them Arshile Gorky, Willem de Kooning, Franz Kline, Arman, Jean Dubuffet, Giorgio de Chirico, Milton Avery, Oscar Bluemner, Preston Dickinson, Joseph Stella, Romare Bearden, Perle Fine, Niki de Saint Phalle, Robert Mapplethorpe, Tony Smith, Cindy Sherman, Vic Muniz, and Pablo Picasso.

    Bid registration can be done by calling the gallery or on its Web site veredart.com. Lots can be viewed at the gallery or online. The gallery will be open daily from 11 a.m. to 11 p.m. during the auction, which closes on July 7 at 5 p.m.

New Show at Horowitz

    Glenn Horowitz Bookseller in East Hampton will present an installation from Paula Hayes beginning on Saturday with a reception from 6 to 8 p.m.

    The work will feature the artist’s hand-blown glass terrariums, a sound piece, and large-scale drawings. The artist will also have a book signing at the gallery on July 7 from 4 to 6 p.m.

    Ms. Hayes is known for the inspired and beautiful interior worlds she creates within the glass pieces, but she also uses a larger canvas in creating landscapes and other installations. Her drawings are rarely exhibited.

    Also on view through the summer is a large collection of letters and memorabilia connected to Virginia Woolf.

Drawing Room Presents Sultan

    Beginning today, the Drawing Room Gallery will present a solo show of Donald Sultan’s works on paper. The show will include a new painting as well and can be seen through July 30.

    The exhibition is a survey of sorts, beginning with late 1980s works using charcoal through experiments with gouache, conté crayon, and pencil. Many of the works are inspired by flowers or nature and tie into the artist’s love of gardening at his Sag Harbor house. His modern take on the still life is graphic and bold while still very real, if not in replication then in spirit.

    The artist, who has an M.F.A. from the School of the Art Institute of Chicago, divides his time between here and TriBeCa. His work is in several museum collections including those of the Metropolitan Museum of Art, the Museum of Modern Art, and the Museum of Contemporary Art, Tokyo.

Krakoff at Harper’s Books

     Reed Krakoff will have a viewing of his “One Chair” exhibit at Harper’s Books in East Hampton.

    The show explores color and shape with 99 chairs in varying combinations of felt. All are versions of a felt chair he designed with his wife, Delphine Krakoff, using color-blocked combinations with gray. The show first debuted in February at Salon 94 in New York City. The show at Harper’s will run through July 11. A reception will be held on Saturday from 5:30 to 7:30 p.m.

Inside Out at Fireplace

    The Fireplace Project will present “InsideOutsiders: Mary Heilmann and Friends” tomorrow through July 16 with an opening reception on Saturday from 6 to 8 p.m.

    The group show will include work by Ms. Heilmann as well as Don Christensen, Sabra Moon Elliot, Roy Fowler, Rick Liss, David Reed, Ned Smyth, Mike Solomon, Claudia Spinelli, Stephen Westfall, and Steve White.

    Ms. Heilmann said in a statement that the show was inspired by a personal connection she found between surf culture and geometry. “I sit in my studio, look at my work and in my mind reconfigure it, change the size, the proportions, the angles. . . . at the beach, the same thing. I’m gazing at the waves figuring out the break. I make it go right or left in my imagination. I see angles in the surf.”

    While none of the artists included are technically defined as outsiders in the art world sense, she said they do “hide out and compulsively do artwork, lost in their own imagination, doing the math, all alone. Telling stories to themselves.”

Schwabe Takes Over Ashawagh

    This weekend, a solo show by Jerry Schwabe, an East Hampton resident, will be on view at Ashawagh Hall in Springs. The show begins tomorrow and will run through Sunday. A reception will be held on Saturday from 5 to 8 p.m.

    The latest work contrasts soft, muted colors in his beach scenes and vibrant bursts of unexpected color pairings. The artist is also known for his sculptures of horses and paintings in watercolors, oils, or acrylics.

John Hall Outeast

    John M. Hall’s photography is now featured at Outeast Gallery in Montauk. The show is titled “Horizons: Photography from the End” and will run until July 16.

    Mr. Hall, who lives in New York City, was born in North Carolina. He graduated from North Carolina State University with an architecture degree and also attended the North Carolina School of the Arts. He has been exhibiting photography since 1981 both domestically and internationally in Mexico City and in France. He has also shown at Guild Hall member shows and at Kathryn Markel Gallery in Bridgehampton in 2010. His work has also been featured in several publications including Elle Decor and Architectural Digest and has appeared in several books on gardens and home decorating.

Sobel and Silver in Amagansett

    The Crazy Monkey Gallery in Amagansett will show Cynthia Sobel and Catherine B. Silver’s work this month along with a group show by Andrea McCafferty, Jim Hayden, June Kaplan, Lance Corey, Cathy Hunter, Diane Marxe, and Anna Falco-Lane, a guest artist.

    Ms. Sobel’s new abstract paintings are inspired by Capri and have colorful fields that hold imagined events and landscapes loosely inspired by that romantic and dramatic place. Prior to painting, Ms. Sobel was a fashion designer. She is a part-time resident of Amagansett.

    Ms. Silver is more conceptual in her approach, using feeling and form to inspire her work in oil, pastel, and encaustic. More recently she has been doing three-dimensional works using bark and collages of found objects. An East Hampton part-timer, she is also a psychoanalyst and studied in Paris and New York.

    The show opens today and a reception will be held on July 7 from 5 to 7 p.m. The work is on view through July 16.

Perry Burns Goes Solo

    The Sara Nightingale Gallery in Water Mill will show “A Picture’s Half Silence,” a solo show of Perry Burns’s new work, beginning Saturday with a reception from 6 to 8 p.m.

    Mr. Burns mixes abstraction and Islamic symbols in his paintings. In a practice that began after Sept. 11, 2001, he began to delve into the political issues that such symbols evoke as well as examining scenes of uprising or prayer used in the popular media that may distort those issues or add to existing prejudices. The works may layer photographic images of burqa-clad women with painted pixilated patterns or add color patterns to aerial images of possible targets in Afghanistan and Pakistan landscapes.

    The exhibition will run through July 30.

“Past and Present”

    Silas Marder Gallery in Bridgehampton is showing “Past and Present,” a group exhibition, through July 29.

    The artworks that make up the exhibition refer to the passing of time. Each artist finds a different way to explore temporality by creating a record and reference points in time.

    While some works are more conceptual, others mine a more visual sensibility. According to the gallery, Grayson Perry’s “Print for a Politician” uses “historical narrative and social mash-up to combine chronologies into a shared landscape. Nazis, Pro-Lifers, and Liberals are brought together so that behaviors can be observed.” “Built to Burst,” Kate Gilmore’s video installation, records bursting clay pots full of paint over time.

    Emmanualle Thayer Benard, a young musician from Sag Harbor, will perform during Saturday’s reception from 5 to 9 p.m. The Eat Drink Local Film Festival, covered separately in this section, will take place at Marder’s at the same time as the reception.

Haub and MacArthur at Markel

    Kathryn Markel Fine Arts in Bridgehampton will next show new paintings by Rory MacArthur and Christian Haub. The artists have been brought together because of affinities in their use of color in abstract space. However, the similarities in the work end there. According to the gallery, “their methods, objectives, and results are entirely different.”

    Mr. Haub’s paintings can look like a complicated tartan and are made from different thicknesses and colors of intersecting lines. Mr. MacArthur, whose work is more three-dimensional, is less geometrically strident, often referring to and layering shapes but without the harder edges.

    The work is on view beginning Saturday with a reception from 6 to 8 p.m. and will remain at the gallery through July 17.

Abstract Show in Southampton

    The Southampton Cultural Center in Southampton Village will present “Abstraction: The Subjective Impulse,” a show organized by Arlene Bujese with work by Josh Dayton, Carol Hunt, Dennis Leri, Fulvio Massi, and Tom Wasik beginning on Tuesday.

    Unless setting out to make a copy or reproduce a certain existing style, all abstraction becomes subjective at some point. This begins typically when artists make choices that deviate from what would be done if they were trying to be faithful to nature. How far they go depends on their aims.

    The exhibition attempts to examine that creative process and where the unique and intuitive nature of the individual comes into play.

    It might be the degree of the use of color, line, or gesture in the brushstrokes in two-dimensional work or how metal is manipulated into hard-edged or softer pieces in the sculptures of Mr. Leri. Each artist included approaches abstraction in a different way.

    A reception will be held next Thursday from 5 to 7 p.m. and the show will remain on view through Aug. 6.

Pop-Up Gallery in Southampton

    LOOC ART, a project launched in January 2012 by Lara McLanahan and Claire Johnston, two longtime South­ampton residents, has had a primarily online presence, but the pair will show their collection of artists in a pop-up gallery on Job’s Lane in Southampton from next Thursday through July 28, with a reception next Thursday from 6 to 9 p.m. The show will include work by Angie Drakopoulos, Caio Fonseca, Ann Marie Heal, Daniel Hill, Elizabeth Schoettle, and Tomas Vu.

    The partners promise an attitude-free acquisition experience. “The art world can be very intimidating and unapproachable. We’ve culled the studios of innumerable artists and present unique works by investment-quality artists,” they said in a press release. “We offer them with no attitude and an easy, approachable way of purchasing.”

     Eventually, the project will include studio tours, corporate and private art consulting, additional pop-up galleries, and the online sale of work by current M.F.A. candidates and recent graduates of M.F.A. programs. Ms. McLanahan is the daughter of Arno Schefler, an art dealer, and is a 10-year art adviser under LSM Private Art, which specializes in emerging contemporary art. Ms. Johnston is an art collector and corporate trade show producer, who manages operations at LOOC ART.

New Show at Boltax

    The Boltax Gallery Summer Project continues on Shelter Island with the show “Specimens and Artifacts” by David Hicks, opening tomorrow.

    Mr. Hicks is a ceramicist from North Carolina who makes Impressionistic sculptures inspired by organic forms in the American landscape. The show will include his “Still Lifes,” wall sculptures of formed objects he ties together with wire or twine, and “Systerms,” other forms that can look like sea life or a strange forest discovery, which come from a connection the artist makes “between the botanical world and my own existence.”

    The artist has an M.F.A. from Alfred University in New York and an undergraduate degree from California State University at Long Beach.

    A reception will be held on Saturday from 6 to 8 p.m. and the show runs through July 30.

New Work at Hang

    Hampton Hang Gallery in Water Mill will show “Classic Contemporary” works featuring the artists Eva Faye, Charlotte Filbert, Bruce Lieberman, Stephen Mannino, and Nico Yektai. The show opens on Saturday with a reception form 6 to 8 p.m. and will remain on view through July 11. The gallery is located in the building behind Suki Zuki restaurant on Montauk Highway.

Romany Kramoris Shows Silveira

    “Finding Art IV,” new work by Jorge Silveira, will open at Romany Kramoris Gallery today and run through July 19. A reception will be held Saturday from 5 to 7 p.m.

    Mr. Silveira incorporates found objects in his work. According to the artist’s statement, his work has become more expressive and more conservative this year. “I spent a lot of time in New York City and less in Sag Harbor, and that shows in my using more color and in the experimentation with different material.”

    The artist is from Uruguay, where recycled and reused objects — be they appliances or automobiles — are part of the culture. He often finds his “art” on the beach, where people have disposed of it. Keeping the beach clean is an added benefit to his practice.

AIA Peconic Deadline Extended

    Architects or associate members of the American Institute of Architects Peconic are invited to submit work for a members exhibition at the Southampton Historical Museum from July 13 to Aug. 26. The deadline has been extended to July 9.

    Work can be of any type, in any medium, and produced at any time in one’s career. Although an architectural project may be the subject, the work submitted must be the sole work of a member.

    Examples of submissions may include small framed sketches or detail drawings, renderings, hand or computer drawings, unrelated art, sculpture, photography, or models. Each should be free-standing as a work of art.

    Additional information and an application form are available on the Web site aiapeconic.org.