The Heckscher’s wide-ranging collection includes European and American art spanning three centuries. To celebrate its centenary, the museum is focusing on works by regional artists, from Edward Moran’s atmospheric 1872 study of fog-bound sailboats in New York Bay (one of Heckscher’s original donations) to a pair of mixed-media works on paper from Bastienne Schmidt’s Underwater Topography series, completed last year. Comprising more than 100 works, “Locally Sourced: Collecting Long Island Artists,” on view through March 15, illustrates the diversity of the region’s creative community, with something to please everyone’s taste, including the children’s.
In the space between strict Abstract Expressionism, where shapes are born of emotion and imagination, and the familiar, if provocative, imagery of pop art, there existed Jack Youngerman’s work.
From March 7 through April 19, the work of more than 1,000 young artists from the East End will be on view in the Parrish Art Museum’s annual Student Exhibition, a nearly 65-year tradition.
On Friday, March 6, at 6 p.m., the Parrish Art Museum, in collaboration with Hamptons Doc Fest, will screen the 2019 documentary “Queen of Hearts: Audrey Flack.”
On Monday, March 9, the artwork of Eastport’s John Melillo, a disabled Vietnam veteran, will go on view at New York University’s Kimmel Center for University Life, 60 Washington Square South.
Ever since she was a child, Irina Alimanestianu has looked at the world from the outside — observing social structures, making sense of “the rules” and doing her best to interpret them as a grade-schooler growing up with Romanian parents in Nyack, New York.
Water impacts climate, agriculture, transportation and industry as well as inspires art and music. From February 29 to April 11, it will also be the focus of “Water/Ways,” a Smithsonian traveling exhibition that is coming to the East Hampton Historical Society’s Clinton Academy.
“Art reveals the illumination within each of us, always shining through us,” says Richard Demato of the RJD Gallery in Bridgehampton. Demato has chosen “Shades of Light” as the theme of the 11th annual Hamptons Juried Art Show. In this special exhibition, viewers will see the artists’ expression of themselves through their work. Artists are encouraged to enter their artwork and share their message.
For years, Dean Mitchell refused to show his face — not to accept the awards he won in fine art shows, not when the magazines came knocking, and certainly not to promote himself. Because in order to keep gaining momentum, no one could know he was African American.
In “The Curator’s View,” an illustrated talk at the Parrish Art Museum on Friday, February 28, at 6 p.m., Alicia G. Longwell, Ph.D., The Lewis B. and Dorothy Cullman Chief Curator, Art and Education at the Parrish, will highlight works on view by women artists in the exhibition “What We See, How We See.”
Gallerist Janet Lehr has announced she will be closing her Janet Lehr Fine Arts gallery at 68 Park Place in East Hampton on February 28.
As an artist, Ursula von Rydingsvard’s emotionally powerful work was informed by a childhood spent in wartime Germany. On Friday, February 14, a 6 p.m., the Parrish Art Museum screens director Daniel Traub’s 2019 film “Ursula Von Rydingsvard: Into Her Own,” a documentary that follows the New York-based contemporary artist as she completes recent commissions for MIT and Princeton University.
“Artists Choose Artists” is the Parrish Art Museum’s triennial exhibition that highlights the dynamic relationships among the multi-generational artist community of the East End, encouraging mentorship and conversations between artists at varying stages in their careers. The museum’s current “Artists Choose Artists” exhibition runs through February 23, and on Friday, February 21, at 6 p.m. will present “The Artist’s View” with three of the participating artists — Mary Boochever, Anne Seelbach, and Dan Welden — speaking about their work in the show.
The Sag Harbor Planning Board on January 28 gave final approval to husband-and-wife artists Eric Fischl and April Gornik’s proposal to convert the imposing 19th-century former Methodist Church into a residential arts center.
When James Mallord William Turner died in 1851, he left the paintings that remained in his estate to Great Britain. The nation, however, was ill prepared to receive this magnificent legacy, numbering nearly 300 oil paintings and some 30,000 works on paper.