Amber Hawk Swanson during a live web stream from the Watermill Center on Thursday
For the past 35 years, the couple has been as integral to the East Hampton art community as anybody, if not more so
Bill King and Connie Fox recounted their early days, their time together, and their contributions to LTV at their house recently. The portraits behind the piano were painted by John Hardy.
By Adam Judd
Dominic Inferrera, Nils Neubert, Charlene Marcinko, and Darynn Zimmer were the featured soloists at the Choral Society of the Hamptons’ winter concert on Sunday in Bridgehampton.
On Sunday, the Choral Society of the Hamptons offered a fine performance of Bach’s Magnificat in D major, an “extremely demanding” piece for the voice. Durell Godfrey
This year’s program included a gala honoring Barbara Kopple, the award-winning director of films such as “Harlan County USA,” a film by Michael Apted, as well as “The 50 Year Argument,” an examination of The New York Review of Books
Jason Epstein spoke with Andrew Botsford at the Bay Street Theater in Sag Harbor after a screening of “The 50 Year Argument” at the Hamptons Take 2 Film Festival on Friday.
At the Southampton Arts Center in Southampton Village
At the Shinnecock Nation Cultural Center and Museum in Southampton
The $50,000 grant will support the Summer Music School on Shelter Island
At the John Drew Theater Lab at Guild Hall
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“The Buddha’s Hand Citron‚” a 19th-century drawing from southern China, is part of the winter salon show at the Drawing Room gallery in East Hampton.
Its realism alone sets it apart from the recently termed “zombie abstraction,” as shallow and pretty as a trophy wife, so popular these days
Above left, visitors examined an untitled work by Robert Gober that offers a view through the floor of a hyperreal pond setting. An installation view, top right, of an untitled Gober work featuring an empty wedding dress, wallpaper showing a sleeping white male and a lynched African-American male. In an untitled sculpture from 2005-6, bottom right, Mr. Gober has painted cast lead crystal to simulate a paint can.
Thomas Griesel, the Museum of Modern Art, and Bill Orcutt, Matthew Marks Gallery
Robert Gober’s sinks appear in many guises in the exhibition at the Museum of Modern Art, for instance buried under real grass and dirt on a scaffold outside the museum’s second floor to recreate their installation at a collector’s property. Andrew Moore