CHANGE OF DATE FOR SCOTT BLUEDORN OPENING
Pollock-Krasner Reopens
The Pollock-Krasner House and Study Center in Springs has opened for the 2024 season with “Selections From the Permanent Collection.” Organized by Theresa Davis, assistant to the director, the show emphasizes the many friendships and connections among the artists.
Among the works on view are Lee Krasner’s contribution to the Frank O’Hara memorial portfolio, “In Memory of My Feelings”; an early work by Ronald Stein, Krasner’s nephew; Theodore Brauner’s homage to Hedda Sterne; Stern’s caricature of Herman Cherry; Cherry’s oil on paper created during his summer on Martha’s Vineyard with Willem de Kooning, and works by Adja Yunkers, Peter Grippe, Helen Phillips, Esteban Vicente, Stanley William Hayter, David Slivka, James Brooks, Alexander Russo, Herbert Matter, Haydn Stubbing, and Wilfrid Zogbaum.
The house and study center is open by reservation only, Thursdays through Sundays. The exhibition will continue through July 7.
Living Sculptures
Mamoun Nukumanu was recently named the 2024 artist-in-residence at the Tripoli Gallery in Wainscott, and the first fruits of that residency can be seen at the gallery through Monday, with a preview reception on Saturday from 6 to 8 p.m.
Mr. Nukumanu is working in the gallery as well as in its outdoor space, where he is shaping living sculptures woven from materials natural to the East End.
He is also making paintings that are, in his words, “all unified by invoking a concept or symbolic structure you pass through . . . a doorway.” Four of the paintings create a compass-aligned grid at the center of which stands a totem woven of locally harvested bamboo.
The outdoor component of the residency will run for a full year and result in a solo exhibition in May 2025.
Scott Bluedorn Solo
“Force Majeure,” a solo show of work by Scott Bluedorn, will open at the Clinton Academy in East Hampton with a reception on May 19, not on May 10 as originally announced.
The exhibition explores “the power of natural events in the face of human folly and artifice, exulting in the revelatory and sublime,” according to Mr. Bluedorn. It will include found objects and mixed-media assemblages made with objects from storm-wracked beaches, as well as prints, drawings, paintings, and sculpture.
Remembering Vito Sisti
“16 Women,” a group exhibition organized annually by Karyn Mannix in memory of Vito Sisti, the “unofficial mayor of Springs,” will be on view at Ashawagh Hall in that hamlet on Saturday from 11 a.m. to 7 p.m. and on Sunday from 11 to 4. A reception will be held on Saturday from 5 to 7.
The participating artists are Beth Barry, Carol Hunt, Casey Chalem Anderson, Christina Schlesinger, Donna Corvi, Joanlee Montefusco, Joyce Kubat, Kerry Sharkey-Miller, Kristin Ryan Shea, Mary Daunt, Renee Gallanti, Setha Low, Susan Zises, Veronica Mezzina, and Ms. Mannix.
Amy Sillman’s Abstraction
In collaboration with Art21, The Church in Sag Harbor will host the world premiere of “Amy Sillman: To Abstract,” an eight-minute documentary on her life and work. The screening, set for Sunday at 1:30 p.m. at the Sag Harbor Cinema, will be introduced by Tina Kukielski, the executive director of Art21, and Ms. Sillman, to be followed by a conversation between the artist and David Salle, her friend and fellow painter.
Art21 is a nonprofit whose mission is to educate and expand access to contemporary art through documentary films and public programs. Its short-format films are accessible online as well as on television in partnership with PBS. The documentary on Ms. Sillman explores her approach to abstraction that is both cerebral and intuitive.
Tickets are $25, $20 for members.
Self-Portraits Made New
“Elisabetta Zangrandi: Musée Imaginaire,” an exhibition organized by Alison M. Gingeras, a curator and art historian, will open on Saturday at Keyes Art in Sag Harbor with a reception from 6 to 8 p.m. and run through June 26.
For the past year Ms. Zangrandi has created a gallery of reinterpretations of female artists’ self-portraits, ranging from the 12th-century German monastic Guda of the Weissfauen Convent to Artemisia Gentileschi, a 17th-century Baroque prodigy, to such modern artists as Alice Neel and Frida Kahlo. Rather than copies of the original self-portraits, the paintings are rendered in Ms. Zangrandi’s deceptively fanciful style.
Ms. Gingeras shared with Ms. Zangrandi her research into the question of the self-representation of female artists since the 16th century.
This article has been changed from its original and print version to reflect the change in the opening date of Scott Bluedorn's exhibition, which was announced after the paper went to press.
