Tag Archive | "Parrish Art Museum"

Sounds of Summer Series Kicks off at the Parrish Art Museum with the HooDoo Loungers

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The HooDoo Loungers. Photo courtesy Joe Lauro.

The HooDoo Loungers will perform at the Parrish Art Museum Friday, May 23. Photo courtesy Joe Lauro.

By Stephen J. Kotz

The Parrish Art Museum’s second annual Sounds of Summer series will get off to a decidedly, if unseasonably, Mardi Gras theme when the HooDoo Loungers take to the stage on the museum’s covered terrace on Friday, May 23.

“It’s all New Orleans-inspired stuff. It’s all in that vein,” said bassist Joe Lauro, the co-founder of the nine-piece ensemble and a self-described aficionado of American roots music. “We started off doing covers, but now we do about half originals. It’s a stompin’ band.”

The concert, which takes place at 6 p.m., is the first in a series of five that have been scheduled over the next three months. Also appearing in the series will be the Next Level Band, which performs steel drum and reggae, on June 6; Mambo Loco, which performs Latin-inspired jazz, on July 4; Edith and Bennett, who perform old-time folk music, on August 1; and the Ebony Hillbillies, a bluegrass band whose performance will include a barbecue for attendees, on September 5.

The concerts are free with museum admission, which is $10 for adults, $8 for seniors and free for children under 18 or students with an identification card.

“On Friday nights we are open late and we have this beautiful, west facing terrace …that can be used for live music, films, that sort of thing,” said Andrea Grover, the Parrish’s curator for special projects. “This program is really geared toward reveling. It’s the kind of music that is intended to get people up and dancing. Or, if you like, you can go out on the lawn with your kids and let them run around and jump up and down.”

Mr. Lauro is well known among Sag Harborites for the occasional music film series he hosts at Bay Street Theatre, using footage owned by his company, Historic Films, as well with his past, and still occasional, performances with the Lone Sharks, Gene Casey’s rhythm and blues-based band.

Besides Mr. Lauro, the Loungers’ lineup includes a pair of vocalists, Dawnette Darden and Marvin Joshua (who recently joined the band), David Dietch, on keyboards and accordion, Michael Schiano on guitar, Dave Giacone on drums and a three-member horn section made of Brian Sears on tenor and baritone sax, Ed Leone on trombone and Gary Henderson on trumpet that, Mr. Lauro said, handle the majority of the solos.

“Every band out there—all they have is guitars,” he said. “We said, ‘Let’s do something different!’”

Mr. Lauro said that Mr. Dietch handles the group’s arrangements and tries to keep fresh the classics the group plays as well as provide an authentic New Orleans feel to its original songs. “We write to the theme,” he said.

A documentary filmmaker who branched into the world of film archiving, amassing an incredible collection of vintage music footage, from Billie Holiday and Charlie Parker, through Elvis Presley, the Beatles and later rock groups, Mr. Lauro said he was bitten by the music bug at an early age.

“The Beatles,” he responded when asked his inspiration for taking up the bass. “But I had two lives as a kid. I also had this secret life of loving vaudeville singers like Al Jolson and Eddie Kantor. So I was listening to that and completely loving the Beatles and all the stuff that was coming up.”

Thanks to groups like the Beatles that covered ’50s R&B and rockabilly, Mr. Lauro said he learned about the likes of Carl Perkins, Fats Domino and Little Richard by working his way backward. “Eventually you learned that Paul McCartney could scream, but not like Little Richard.”

After moving east more than 30 years ago, Mr. Lauro hooked up with an old high school bandmate, Mr. Schiano, in the Moondogs. Later, he joined Mr. Casey’s Lone Sharks for several years.

He and Mr. Dietch formed the HooDoo Loungers about four years ago. “When I left the Lone Sharks, I wanted to do a New Orleans project. But I thought we’d be more of a show band, and do a whole retrospective show for corporate parties and that sort of thing. Pretty soon we started doing original stuff, but we still do lots and lots of old New Orleans stuff.”

Mr. Lauro said he hoped that some of the infectious joy that imbues the spirit of life in New Orleans comes through in the band’s playing.

“Partying isn’t something they do on Saturday night. They live that the whole year,” he said. “They celebrate joy through music. That kind of works for me.”

For more information about Sounds of Summer and other Parrish events, call 631-283-21118 or visit parrishart.org.

 

Jazz en Plein Air Series at the Parrish

The Parrish Art Museum will also once again hold its Jazz en Plein Air series, on the first Friday of each month from May through August.

The series starts on Friday, May 30, at 6 p.m. with an appearance by jazz drummer Eliot Zigmund, who has played behind the likes of Chet Baker and Bill Evans. The series continues with Nilson Matta on June 27, Iris Ornig on July 25, and an act to be announced for August 29.

Seating is limited and reserved for guests ordering food and beverages from the museum café. However, guests are encouraged to bring their own lawn chairs and blankets to enjoy the music from the terrace and lawn.

Parrish Art Museum Curator Andrea Grover Wins Prestigious Exhibition Award

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The Waterpod Project at Brooklyn Bridge Park Pier 5. By artist Mary Mattingly, 2009, slated to participate in Radical Seafaring at the Parrish Art Museum. Photo by Mike Nagle.

The Waterpod Project at Brooklyn Bridge Park Pier 5. By artist Mary Mattingly, 2009, slated to participate in Radical Seafaring at the Parrish Art Museum. Photo by Mike Nagle.

By Tessa Raebeck

In recognition of her innovation and experimentation, Andrea Grover, artist, writer and Curator of Special Projects at the Parrish Art Museum, was awarded a 2014 Emily Hall Tremaine Exhibition Award to realize the upcoming exhibition, Radical Seafaring.

Andrea Grover, Curator of Special Projects for the Parrish Art Museum. Photo by Mike Pintauro.

Andrea Grover, Curator of Special Projects for the Parrish Art Museum. Photo by Mike Pintauro.

Scheduled to be on view at the Parrish from April through July 2016, Radical Seafaring was one of only three exhibitions to receive the prestigious biennial award, granted by the Emily Hall Tremaine Foundation. The award provides the museum with a $150,000 grant, as well as a living artist stipend for artists whose existing work will be included in the exhibition.

Established in 1998 to honor the artistic vision of Ms. Tremaine, an art collector, the Exhibition Award is intended “to give life to thematic exhibitions of contemporary art that are fresh and experimental in nature,” according to the Tremaine Foundation’s website.

Featuring about 25 artists, with works ranging from artist-made vessels to designs for alternative sea communities, Radical Seafaring will survey the practice of artist-initiated projects on the water “from its roots in conceptual and performance art of the 1960s and 70s, to an abundance of recent phenomenological research and site-specific works that involve relocating the studio, the laboratory, or the performance space to the water,” according to a press release.

A large part of the exhibition involves public programs, such as on- and off-site commissions, boat trips and artist-led excursions around East End waterways.

“The Museum Board of Trustees and I are extremely proud of Andrea for her highly original concept for the exhibition,” said Parrish Director Terrie Sultan. “Radical Seafaring is a perfect example of how the Parrish Art Museum’s programming responds to the natural setting and artistic life of Long Island’s East End in its commitment to illuminating the creative process.”

Since joining the Parrish’s curatorial team in 2011, Ms. Grover has been the recipient of various grants and fellowships. In addition to curating a variety of exploratory projects and programs, she initiates new models for temporary and off-site exhibitions through the museum’s Platform and Parrish Road Show series.

Parrish Art Museum Celebrates 40 Years of Jennifer Bartlett’s Work

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"Atlantic Ocean" Photo by Tessa Raebeck.

“Atlantic Ocean,” made in 1984 from 224 baked enamel steel plates, is on view at the Parrish Art Museum as part of its “Jennifer Bartlett: History of the Universe” exhibition. Photo by Tessa Raebeck.

By Tessa Raebeck

Using the images of house and home to convey not comfort but impermanence, subversion and abstraction, veteran artist Jennifer Bartlett has continually revisited the theme—and the contradictions therein—over her 40-plus year career.

In “Jennifer Bartlett: History of the Universe,” the Parrish Art Museum presents Ms. Bartlett’s work, from 1970 through 2011, in three galleries of massive enamel steel plates and colorful paintings, on view now through July 13.

“It explores the symbolism and themes that she works with over time, centering on the home and house and the relationships she has with her friends, motifs she explores routinely throughout her work,” Curatorial Assistant Michael Pintauro said of the exhibition.

Young artist Virginia Briggs draws inspiration from Jennifer Bartlett's work at the Parrish Art Museum Sunday, April 27. Photo by Tessa Raebeck.

Young artist Virginia Briggs draws inspiration from Jennifer Bartlett’s work at the Parrish Art Museum Sunday, April 27. Photo by Tessa Raebeck.

 

Originally from Long Beach, California, Ms. Bartlett emerged in the mid-1970s and quickly earned commercial success and critical acclaim for her work, which combines figurative and abstract art. The artist often melds together deep blues and greens in her paintings, delineated by harsh lines, panels and grids.

Jennifer Bartlett, "House: Lines, White, 1998." Enamel over silkscreen grid on baked enamel, steel plates. Photo courtesy of Parrish Art Museum.

Jennifer Bartlett, “House: Lines, White, 1998.” Enamel over silkscreen grid on baked enamel, steel plates. Courtesy of Parrish Art Museum.

Ms. Bartlett first used the house image in “House Piece” in 1970, and the hearth has been a recurring theme in her work ever since.

“A house is basically a square and a triangle within a rectangle,” Ms. Bartlett observed in a conversation with Leisa Austin from the publication, “Jennifer Bartlett: Earth.” “It shows a human presence but it is totally abstract.”

In “237 Lafayette Street,” the title representative of Ms. Bartlett’s address in 1978 when the painting was completed, the traditional home image is distorted across three panels, representing the impermanence of a house. The geometric blocks remain the same, but the colors and designs surrounding it transform from muted to chaotic.

Ms. Bartlett’s friend Joan Didion, a writer and fellow Californian, said this notion of a chaotic “sense of place” stems from coming of age in the Golden State, where “children grow up aware that any extraordinary morning their house could slip its foundations in an earthquake, implode in a brushfire, [or] slide from existence on a suddenly unstable slope,” the author write in an introduction to “Jennifer Bartlett: Earth.”

Ms. Bartlett has been spending time at a cottage in Amagansett since the early 1990s, where, like many artists before her, she has enjoyed the natural inspiration of the many landscapes on the East End.

A massive piece on view at the Parrish, “Atlantic Ocean” is made of enamel laid over a silkscreen grid on 224 baked enamel steel plates. Completed in 1984, the work is obviously locally inspired, with off-white frothy waves melding into deep blue waters, a dune-lined island in the background.

Jennifer Bartlett, "Air: 24 Hours, Eleven P.M.," 1991–92. Oil on canvas. Courtesy of Parrish Art Museum.

Jennifer Bartlett,
“Air: 24 Hours, Eleven P.M.,” 1991–92.
Oil on canvas. Courtesy of Parrish Art Museum.

Also a multi-plate work, “Amagansett Diptych #1,” oil on two canvases made from 2007 to 2008, was just gifted to the Parrish’s permanent collection in April. Promised by Michael Forman and Jennifer Rice, it will add another Bartlett work to the permanent collection.

In both “Atlantic Ocean” and “Amagansett Diptych #1,” Ms. Bartlett used “graining brushes” resulting in an effect that Curator Klaus Ottman described as a “lush sensuality that still manages to meet her desire for grids and order.”

Made between 1991 and 1992, the series “Air: 24 Hours” has 24 paintings at 84 by 84 inches each, each representing an hour of Ms. Bartlett’s day. In “Eleven P.M.” on view at the Parrish, a cluster of handwritten notes and a pile of loose change converge sloppily on top of a desk in a scene evoking the stress of late night planning. Underneath the colors and haphazard scene is Ms. Bartlett’s familiar grid motif, constructing a sense of order after all.

Created in her Amagansett home in 2005 and 2006, “No One is Home” and “Something is Wrong,” paintings overwritten by the words in their titles, further demonstrate Ms. Bartlett’s distrust of the home as a place of undisturbed sanctity and refuge.

“Jennifer Bartlett: History of the Universe” is on view through July 13 at the Parrish Art Museum, 279 Montauk Highway in Water Mill. For more information, call 283-2118 or visit parrishart.org.

Jennifer Bartlett, "Amagansett Diptych #1," 2007-08 oil on 2 canvases. Courtesy of Parrish Art Museum.

Jennifer Bartlett, “Amagansett Diptych #1,” 2007-08 oil on 2 canvases. Courtesy of Parrish Art Museum.

Lichtenstein Sculptures Settle In at Parrish

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By Stephen J. Kotz

Two security guards who usually patrol the galleries of the new Parrish Art Museum in Water Mill were pressed into service directing traffic at the museum’s entrance on Montauk Highway Thursday afternoon, as workers prepared a concrete slab for the placement of one of Roy Lichtenstein’s Tokyo Brushstroke sculptures while a small band of onlookers stood by.

It was a slow process, as could be expected, to move a pair of towering aluminum sculptures, the larger of which weighs more than six tons, the other two-and-a-half tons, into proper position, where, for the foreseeable future, they will be seen by the thousands of drivers who pass the museum every day.

“We are very pleased that we are able to offer the community a significant work by an artist of his stature,” said Terrie Sultan, the museum’s director, who braved the unseasonably cold weather to answer questions for those waiting for workers to finish drilling holes to place large anchor bolts deep in the concrete pads.

“They will be here for a long, long time,” she said of the sculptures, which are on an open-ended loan to the museum from the Roy Lichtenstein Foundation in cooperation with the collectors Glenn and Amanda Fuhrman and the Fuhrman Family Foundation.

Ms. Sultan said it was far too early to speculate if more sculptures by other artists will be added to the vast lawn in front of the museum, a barn-like building of poured concrete that was designed by the Swiss architecture firm Herzog & de Meuron. “We have only been here 18 months,” Ms. Sultan said. “The landscaping hasn’t even come in yet.”

She added that bringing in such sculptures is a costly and complicated process, never mind the fact that “scale is a major factor because the building is quite definitive in its presence.”

But Ms. Sultan said she was convinced the Lichtenstein sculptures, which are mostly painted in the primary colors of blue, red, and yellow, would become a “cultural beacon” that would help draw visitors to the museum’s new home.

The museum director called Mr. Lichtenstein “one of the most important American artists of the 20th century.”

“He was one of the major forbearers of the Pop Art movement,” she continued. “He was incredibly innovative in how he made art. He definitely changed the way we looked at the intersection of art and culture.”

Mr. Lichtenstein, who was born and raised in New York City, is best known for his comic-strip inspired paintings including “Whaam!,” which depicts an American jet fighter blowing up an enemy plane, and “Drowning Girl, in which a thought bubble above the subject’s head says, “I don’t care! I’d rather sink—than call Brad for help!”

He and his wife, Dorothy, who remains on the museum’s board, began coming to Southampton in the 1960s, moving there full-time in 1970 and beginning a long relationship with the Parrish. In 1982, the museum presented a show of many of the artist’s early works, and Ms. Lichtenstein was a major donor to the museum’s capital plan, according to Ms. Sultan.

Mr. Lichtenstein came to sculpture later in his career, according to Ms. Sultan, who said it was “a natural progression” for the artist to want to experiment in a three-dimensional medium.

Tokyo Brushstrokes I and II were created in 1994, just three years before Mr. Lichtenstein’s death in 1997 at the age of 83.

The pieces are part of a larger series of “Brushstrokes” that on display in cultural centers across the world, including Paris and Madrid, as well as the Hirschorn Museum and Sculpture Garden in Washington, D.C.

Ms. Sultan said that it is common practice for an artist to retain the rights to an artist’s proof of large-scale pieces like those from the Brushstroke series, which Mr. Lichtenstein did. In 2007, his estate exercised the right to execute the artist’s proof. The pieces were in storage in Rhode Island until they were installed last week, while the original remains on display in Tokyo.

“They really look great. They are just beautiful,” Ms. Sultan said of recently installed pieces on Monday. They offer a great contrast to the horizontal of the nature of the building.”

Architecture Explained in 5 Minutes at Parrish

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Picture-for-Parrish

Gibson Farm by James Merrell Architects/Raimund Koch photo

By Stephen J. Kotz

Imagine going through a speed dating session with a dozen architects. That’s a little what it will be like when the Parrish Art Museum presents “Five Minutes Max,” the third installment in its Architectural Sessions series, at noon on Saturday.

The event will be moderated by Maziar Behrooz AIA, an architect with offices in East Hampton and New York.

And as the name implies, each of the 12 architects taking part will be given just five minutes to succinctly discuss a topic or theme that is specific to projects they have designed on the East End.

Mr. Behrooz said he told each of the participants, “Let’s not make this a sales pitch. This is not about what each of us does to solicit work. It’s not about that. It’s about ideas. Let’s focus on ideas that have to do with building and design on the East End.”

He added that participants will not be able to tarry because as they speak, a series of 15 slides, appearing for no more than 20 seconds each, will be shown on a large screen behind the speaker.

“It forces them to give all their ideas in five minutes,” Mr. Behrooz said. “We ask them, in addition to that, to concentrate on issues that have to do with local and regional architecture here, so each one will take some aspect of building that is inspiring or challenging to them about the region”—whether it be designing  modern green houses or traditional homes.

“At least one person will talk about the issue of the environment out here,” said Mr. Behrooz. “One may speak about the history of the area, and another might talk about preservation.”

The Architectural Sessions take place about four times a year, and Mr. Behrooz said they present an opportunity to allow architects who are members of the American Institute of Architects to have a conversation about their work, rather than simply present it in an exhibit

The Parrish has based the format of “Five Minutes Max” on its popular “PechaKucha Night Hamptons” series, which were originally called “Lightning Rounds” and feature rapid-fire presentations from artists in a variety of disciplines. ( PechaKucha is a Japanese term that means “chit chat,” Mr. Behrooz said.)

Saturday’s panel will feature Hideaki Ariizumi and Glynis Berry AIA, the founders of Studio A/B Architecture; John Berg of Berg Design Architects; Bill Chaleff, a partner in Chaleff & Rogers Architects; Jonathan Foster, the owner of nyArchitect; Maxine Nachtigal Liao, the owner of firm by the same name, Nick Martin, the founder of Martin Architects; Michael McCrum, the principal of McCrum Architects, James Merrell, the head of James Merrell Architects; John Rose, the owner of John David Rose Architects PC; Steve Schappacher, the co-founder of Schappacher White Architecture DPC, Ric Stott, the principal of Flynn + Stott Architects; and Fred H. Throo, the principal of Fred Throo Architects and Architecture One, PC.

Mr. Behrooz, who was born in Iran and moved to the United State as a student with his family in the 1970s, studied architecture as an undergraduate at Tulane University, where he remains on the board of advisors to its architecture school, did his graduate work at the Institute for Architecture and Urban Studies and the Cornell School of Architecture.

Most of his firm’s work is residential, and it ranges from the luxury market to affordable housing. Mr. Behrooz said he was an early proponent of using shipping containers in construction. A project in Amagansett that employed containers as the framework of an artist studio is well known.

“I did the cheapest house in the Hamptons,” he said, referring to his “instahouses,” prefabricated structures that rely on a combination of shipping containers. “I wanted to build a $99,000 house, like the 99-cent iTune song,” he said. “That’s how we started it, and we worked backward from that price.”

Tickets to Saturday’s program are $10 and include admission to the museum at 279 Montauk Highway in Water Mill. Admission is free to members of the Parrish, children and students. Reservations are recommended and can be made by calling the museum at (631) 283-2118.

 

Parrish Art Museum to Install Roy Lichtenstein Sculpture on Montauk Highway

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Rendering: Roy Lichtenstein, "Tokyo Brushstroke I & II." Courtesy Parrish Art Museum.

Rendering: Roy Lichtenstein, “Tokyo Brushstroke I & II.” Courtesy Parrish Art Museum.

By Tessa Raebeck

Beginning Friday, April 18, drivers on Montauk Highway will have some culture added to their commute, as Roy Lichtenstein’s towering sculpture, “Tokyo Brushstroke I & II,” will grace the entrance of the Parrish Art Museum in Water Mill.

Completed in 1994, the sculpture is part of a series constructed by Mr. Lichtenstein at the end of the 20th century, just before his death in 1997. Similar works are on view in cities across the world, including Madrid, Paris and Singapore. A long-term loan by the Roy Lichtenstein Foundation, courtesy of Glenn and Amanda Fuhrman and the Fuhrman Family Foundation, it will be the museum’s first long-term outdoor installation at its new building.

“It’s a symbol of something it isn’t and that is part of the irony I’m interested in,” the late Mr. Lichtenstein said of the work, a colorful sculpture of painted and fabricated aluminum that is taller than the museum itself.

A leading figure of the new art movement of the 1960’s, Mr. Lichtenstein is widely credited as bringing pop art to prominence. Inspired by comic book panels and advertising techniques, his work sets social parody against bright cartoon backdrops. In 1964, he became the first American exhibited at the Tate Gallery in London.

After becoming year-round residents of Southampton in 1970, Mr. Lichtenstein and his wife Dorothy quickly developed a relationship with the Parrish Art Museum. In 1982, the Parrish presented an exhibition of 48 of Mr. Lichtenstein’s paintings, including relatively unknown early works, created from 1951 through the early 1980’s. Ms. Lichtenstein remains a trustee of the museum and many of the Parrish’s programs in its new Herzog & de Meuron-designed building are presented in the Lichtenstein Theatre.

“This awe-inspiring work promises to become a cultural landmark, and a beacon that draws visitors to the Parrish,” Terrie Sultan, Parrish Art Museum Director, said of the sculpture in a press release.

“Tokyo Brushstroke I & II” will be installed on the front lawn of the Parrish Art Museum, 278 Montauk Highway in Water Mill, on Friday, April 18.

Salon Series Returns to the Parrish Art Museum

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Pianist Assaff Weisman will perform at the Parrish Art Museum Friday.

Pianist Assaff Weisman will perform at the Parrish Art Museum Friday.

By Tessa Raebeck

Back by popular demand, Salon Series, a series of concerts by award winning and internationally acclaimed young Classical pianists, will return to the Parrish Art Museum Friday.

At the first show in the four-concert program, on consecutive Fridays this month, Assaff Weisman, who had his solo debut at age 12, will perform.  A graduate of the Juilliard School, Mr. Weisman was reviewed by the Palm Beach Post as having a “purity of approach” and a style that “is clean and free of posturing, the kind of pianism that allows the listener to admire the architecture of the works under consideration while also appreciating the poetry of the flourishes.”

On Friday at 6 p.m., Mr. Weisman will perform classics such as Beethoven’s “Sonata in D minor, Op. 31, No. 2,” as well as pieces from modern composers, like the French Olivier Messiaen.

The upcoming concerts in the series are Russian pianist Daria Rabotkina on April 11, winner of the 2008 Pro Musicis International Award, Tanya Gabrielian on April 18, and Taiwanese pianist Ching-Yun Ju on April 25.

Tickets for all concerts, which begin at 6 p.m., are $20 for the general public and $10 for Parrish members. For more information, visit parrishart.org or call 283-2118 ext. 142.

Local Winemakers to Share that Delicious Creativity

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Event photo courtesy of Parrish Art Museum.

Event photo courtesy of Parrish Art Museum.

By Tessa Raebeck

Coming off one of the best vintage years Long Island wine has ever seen, three of the region’s leading winemakers will share what inspires them – and allow others to taste that inspiration.

On Friday, the Parrish Art Museum presents “How Do You Bottle Creativity?” a winetasting and interactive conversation with Barbara Shinn, owner/viticulturist at Shinn Estate Vineyards in Mattituck, Kareem Massoud, winemaker at Paumanok Vineyards in Jamesport, and Christopher Tracy, winemaker/partner at Channing Daughters in Bridgehampton.

Long Island’s moderate maritime climate, long growing season, concentration of small growers and proximity to the giant wine market of New York City have enabled the farmers in pursuit of their primary goal: making delicious wine. Long overlooked by connoisseurs and locals alike, Long Island wine is proving itself in tasting tests and on restaurant menus; three of the last four years have seen exceptional vintages across the island.

“It was really a beautiful year and we’re seeing that right now in the barrel,” said Ms. Shinn of the 2013 vintage, which many local winemakers heralded as the best they’ve seen.

“I think the adjective ‘epic’ really applies here,” agreed Mr. Massoud. “It was a truly epic vintage here, it was amazing. I already bottled six wines from 2013 and they’re all delicious. They’re all some of the best we’ve made.”

“Both the science and the hedonistic sides line up in a region like ours to allow for great diversity of varieties and styles of wine, which is somewhat unusual in North America,” explained Mr. Tracy.

Mr. Tracy came to Channing Daughters from a family “that drank wine and food and traveled and exposed me to those things,” and eventually purchased a California vineyard. Having attended school for performing arts and philosophy, he changed direction after exploring the Long Island wine region in the mid-‘90s, returning to wine via “life’s crazy circuitous route.”

A background in art and philosophy may not seem relevant to winemaking, but Mr. Tracy’s love for creativity and appreciation of beauty have enhanced his craft.

“The two things are deliciousness and reflection of our place,” he said of his priorities. “It’s important that we make things that are delicious that people want to drink and enjoy and excite them and their senses. And that it reflects the climate, terra, the place, the culture where we’re growing our grapes and making wine.”

“If we can provide that something that’s actually delicious and actually tells the story of the little piece of land where we exist and where we grow grapes and make wine, that’s pretty awesome,” he added.

The island’s first second generation winemaker, Mr. Massoud learned the trade from his parents, Ursula and Charles, who founded Paumanok Vineyards in 1983 and still own and operate it today. Named after the Native American name for Long Island, Paumanok Vineyards is “very much a family affair,” Mr. Massoud said, with his brothers Nabeel and Salim also working at the vineyard.

“My orientation as a winemaker, in terms of what inspires me, is not unlike what a chef probably experiences in a restaurant – and that is to just produce the most delicious wine that I can, it’s pretty much that simple,” he said. “It’s always about making the best wine and what does that mean? It means the most delicious.”

His inspiration also stems from the excitement of being a winemaker on Long Island these days, when recognition is rising for the region’s wines.

“Honestly, the quality of the wines in many cases has been there for quite some time already, but more and more people, I think, are beginning to sort of catch on to the reality that world-class wines are being made right in their backyard,” he said.

“We fancy ourselves artists as winemakers,” he added. “We basically have, on Long Island, a very broad palette of colors to choose from…It’s a lot of fun to be able to do all these different varieties and different styles and pair them with the local produce that the East End is so rich with.”

Having earned a master’s degree in fine art, Ms. Shinn also views her craft as an extension of her art, farming using holistic practices and keeping the farm “in tune with the subtleness of nature.”

“When David [Page] and I moved to New York City,” she said of her partner and co-owner at Shinn Estate Vineyards, “I was beginning to question making art and hanging it on a wall. When we brought this land and were deciding to plant a vineyard, I was so inspired by these 20 acres of land that had not been planted in vines yet. And the moment the first vine went into the ground, I was so inspired and this huge creative rush has just stayed with me ever since.”

“Quite frankly,” she added, “my art is now off the wall…it’s in the vineyard and it’s in every bottle of wine that we produce. It’s just incredibly inspiring to me.”

Hosted by the Parrish Business Circle and co-presented with Edible East End and Long Island Wine Council, “How Do You Bottle Creativity?” is Friday, March 21 at 6 p.m. at the Parrish Art Museum, 279 Montauk Highway in Water Mill. $20 for members and $25 for non-members, tickets include a one-year subscription to the Edible title of your choice. Space is limited. To make reservations, call 283-2118 or visit parrishart.org.

How Do You Bottle Creativity? Local Winemakers at the Parrish Art Museum

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By Tessa Raebeck

Three of the East End’s premiere winemakers will be at the Parrish Art Museum Friday, March 21 at “How Do You Bottle Creativity?” an interactive talk and tasting presented with Edible East End and the Long Island Wine Council and hosted by the Parrish Business Circle.

Long Island is one of the world’s most up-and-coming wine regions. Guest speakers Kareem Massoud of Paumanok Vineyards, Barbara Shinn of Shinn Estate Vineyards and Christopher Tracy of Channing Daughters will explain what inspires their art – and then let the audience taste that inspiration.

“How Do You Bottle Creativity?” is Friday, March 21 at 6 p.m. Tickets are $25 for non-members, $20 for members and include museum admission. Reservations are recommended and can be made here. For more information, call 283-2118.

Southampton Students Show at Creative Partners Exhibition at the Parrish Art Museum

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By Tessa Raebeck

Featuring this year’s work from its longstanding collaboration with the Southampton and Tuckahoe Schools, the Parrish Art Museum will present the Creative Partners Exhibition, on view from Saturday, March 8 through April 14.

The centerpiece of the exhibition is “This Is Us,” a photo-documentary created by the Parrish Art Club, the Southampton High School’s after-school group, taught by Southampton art teacher Gail Altomare with help from Cara Conklin Wingfield, education director at the Parrish. Being shown in the gallery through video projection and also via an interactive website, the film is a digital portrait image-and-text exploration of the community at Southampton High School, including students, teachers and staff. Inspired by the Humans of New York project in New York City, the photo-documentary provides a candid view of the everyday lives of Southampton students through the unique, individual portraits they shaped of the people in their world.

The Creative Partners exhibition will also feature work by the schools’ pre-kindergarten, fourth, fifth and sixth grade students, including relief sculptures reflective of an art history curriculum focused on ancient Egypt and paintings inspired by the master landscapes of the museum’s permanent collection.

For more information, call 283-2118 x121 or visit parrishart.org.