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  •     Perry Burns’s East Hampton studio is far from Sarajevo, and even farther from Beirut, but Mr. Burns’s paintings and photographs bridge those cultural distances in unexpected ways. Although he grew up in Connecticut, during a recent conversation Mr. Burns cited a trip to Lebanon at the age of 13 as an important influence on his artistic development.

  • Plein Air at Ashawagh
        The Wednesday Group, an association of artists who meet on Wednesdays to paint en plein air at various East End locations, will show new work at Ashawagh Hall in Springs on Saturday and Sunday, with a reception Saturday from 5 to 8 p.m. Titled “Town and Country,” the exhibition will include New York cityscapes as well as local landscapes.

  • Group Show at Drawing Room
        A group exhibition of paintings, drawings, sculpture, and printed editions will open tomorrow at the Drawing Room in East Hampton and remain on view through April 6.

        Work by Caio Fonseca, Christine Hiebert, Sharon Horvath, Robert Jakob, Mel Kendrick, Diane Mayo, Adrian Nivola, Alan Shields, and Donald Sultan will “highlight the rich potential each artist has mined for his or her inventive use of materials,” according to the gallery.

  •     The summer of 1966, after my sophomore year in college, I went to Europe for 10 weeks. I had read “The Sun Also Rises” and “A Moveable Feast.” My brother, who was seven years my senior, had hitchhiked across the U.S. when he was 19, spent a year in Greece when he was 21, and was working as a journalist in Tokyo in 1966. He was a more proximate role model than Hemingway, but both inspired me to go abroad for the first time.

  • Paper and Canvas
        Ille Arts in Amagansett will reopen Saturday with “Paper and Canvas in Conversation,” an exhibition curated by Denise Gale that will remain on view through April 5. Work by Eugene Brodsky, Don Christensen, Mary Heilmann, Anne Russinof, Arlene Slavin, and Ms. Gale will be included in the show.

  •     While the founding families of Shelter Island — the Sylvesters, the Havenses, the Nicolls — are well-known cornerstones of the island’s history, the slaves and Native Americans who built and inhabited the island are not as widely recognized. “Race and Ethnicity on Shelter Island: 1652-2000,” a new exhibition at the Shelter Island Historical Society, celebrates their role in the island’s history.

  • Workshops at the Parrish
        The Parrish Art Museum in Water Mill is offering two new workshops for artists of all skill levels during March. Linda Capello, an artist from Sag Harbor whose work focuses on the figure, will teach life drawing in a four-session series beginning Wednesday from 3 to 5 p.m. and concluding March 26. Participants will draw male and female models through gesture sketches and longer observation. The cost is $120 for four classes, $95 for Parrish members.

  •     Don Christensen’s studio in Barnes Landing recalls the way New York City lofts looked before they became high-priced “loft-apartments.” Storage racks, worktables, tools and materials, and walls hung with paintings identify it as the domain of a working artist. At one end is a drum set, a clue to the other career — musician — that has figured as prominently in his life.

  • Love and Passion Redux
        The opening reception for “Love and Passion: Walk on the Wild Side,” a collaboration between Karyn Mannix Contemporary, Hampton Hang, and the Sara Nightingale Gallery that was canceled because of last weekend’s storm, has been rescheduled for Saturday from 5 to 8 p.m.

  •     There is a poem in Philip Schultz’s book “Failure,” which won the Pulitzer Prize for poetry in 2008, called “The Reasonable Houses of Osborne Lane.” Shifting from “cottages slowly blooming into mansions” to “neighbors carried in and out of ambulances” to “long azure afternoons dragging shadows toward twilight,” its acute observations of the everyday are infused with grace and a hint of the elegiac.

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  • Saturday's foul weather didn't deter filmmakers and filmgoers from a festive brunch at c/o the Maidstone, which serves as the headquarters for the Hamptons International Film Festival. Mimosas, bloody marys, and passed hors d'oeuvres helped warm up a happy crowd.

  • The Hamptons International Film Festival's official kickoff took place at Guild Hall Thursday night with a screening of Theodore Melfi's "St. Vincent" starring Melissa McCarthy as newly single mother who must leave her 12-year-old son (Jaeden Lieberher) in the care of her curmudgeonly new neighbor, played by Bill Murray, while she works.

  • "Charlie's Country" is the third collaboration between David Gulpilil, an Australian Aboriginal actor, and Rolf de Heer, a Dutch-born director who lives in Australia. Mr. Gulpilil plays the title character, who lives in a Northern Territory Aboriginal community where white laws have encroached and undermined the traditional ways of life.

  • The annual Box Art Auction to benefit East End Hospice will take place Saturday from 4:30 to 7 p.m. at the Ross School Center for Well-Being in East Hampton. Now in its 14th year, the event is the hospice’s only annual fund-raiser held in East Hampton.

    Each year, approximately 100 artists transform small cigar and wine boxes into works of portable art. Among this year’s participants are Jennifer Cross, Eric Fischl, Connie Fox, April Gornik, Priscilla Heine, William King, Rex Lau, Stephanie Brody-Lederman, and Frank Wimberly.

  • The Hamptons International Film Festival announced their annual awards Monday morning at the East Hampton Presbyterian Church.

    The festival’s Audience Awards went to Stephen Frears’s “Philomena,” a drama starring Dame Judi Dench, and “Desert Runners,” Jennifer Steinman’s documentary about the 4 Deserts Race Series of 150-mile ultramarathons. Irene Taylor Brodsky’s “One Last Hug (…And a Few Smooches): Three Days at Grief Camp” won the Audience Award for Best Short.

  •    Filmed in Bellport over a period of 18 days for $700,000, "The Maid's Room" has the look of an expensive Hollywood production. “We did everything we could to make a local film, but not a small film,” says Michael Walker, its director.