This artist has much to tell us about color, balance, and purity of both form and vision
An untitled painting by Newell is typical in the multiple dates he has inscribed on the rear of the board to indicate when he worked on it, including 1959, 1964, 1982, 1986, and 1991-98.
Roy Newell in his studio in the 1950s Anne Cohen Newell
Two art fairs that have succeeded in becoming a fixture in Bridgehampton
What goes on view outside can be as dramatic as what’s inside the tent, as these eye-catching blow-up hand sculptures demonstrated at last year’s ArtHamptons.
Local art news
"The camera -— was my secret lens, my confessional poetry instrument.”
Joe Pintauro took a break in the backyard of his house in Sag Harbor where, after leaving the Young & Rubicam advertising agency, he settled in to write his acclaimed first novel, “Cold Hands,” published in 1979.
Mr. Pintauro consciously photographed Montauk’s winter surfers with Hans Memling’s 15th-century portraits in mind.
For Joe Pintauro, the facade of the Sag Harbor Whaling and Historical Museum reflects 19th-century America’s admiration for European classicism, but, up close, the wooden columns display the ravages of time.
This altar is from Purgatorio ad Arco in Naples, an underground church devoted to the worship of souls in Purgatory.
Joe Pintauro’s limited-edition book, “Nunc et Semper,” focuses on Venice’s Piazza San Marco at night, when the square is almost deserted. The drapes over the arches are raised and lowered throughout the day, alternately revealing and hiding what’s behind the colonnades.
A detail of one of Piazza San Marco’s Baroque curtains.
Aubrey Roemer’s goal was to capture at least 10 percent of the hamlet’s year-round community
While others catch fish in Montauk, Aubrey Roemer has decided to capture people, in this case subjects for portraits, all taken from the year-round population.
“House: Small Pastel Plaid‚” from 1998, a mixture of painting on canvas and plates, at the Drawing Room.
“Atlantic Ocean‚” from 1984, one of her enamel plate works at the Parrish Art MuseumGary Mamay
“Double House‚” from 1987, incorporates both painting and sculpture in a more literal iteration of one of her classic abstract themes. Gary Mamay
At the Parrish Art Museum in Water Mill
In the Geffenberg Performance Tent.
At Guild Hall’s John Drew Theater
An evening of layered social and artistic meaning and humor
Aloysius Gigl, Isabel Keating, Andrew Weems, Michael Benz, Emily Trask, Julia Motyka, Carson Elrod, from left, in “Travesties,” a Tom Stoppard play about artists and revolutionaries performed for the tanned and the shellacked.