Dear Friends of Provincetown Arts,
Now in our third decade of annually publishing Provincetown Arts, we proudly announce that our entire archive—every page from 1985 to 2016—is preserved electronically by the Digital Public Library of America (https://archive.org/details/provincetownartspress). At this juncture, we have set our course for the next decade, guided by our visionary executive committee, E. J. (Terry) Kahn III, Margaret Murphy, Edward Moore, Denise Pappas, and Peter Saunders, who will be presenting their own vision for the future in an appeal letter early next year. Our forthcoming issue features, in our ongoing inquiry between art and writing, painter Sharon Horvath and writer Alec Wilkinson.
Sharon Horvath came to Provincetown in 1986 as a Fellow at the Fine Arts Work Center and was featured that year in our publication when we were first emerging in tabloid format. Since then, Horvath has forged a formidable career, with exhibitions worldwide and with a major show forthcoming next summer at the Merola Gallery in Provincetown. She is a professor of painting at Purchase College, SUNY. Her awards include the Fulbright-Nehru U.S. Scholar Grant, Guggenheim Fellowship for Painting, Rome Prize from the American Academy in Rome, and two Pollock-Krasner Grants. In an article in Provincetown Arts in 2016, Horvath discusses her longtime work in collage, often depicting the vastness of a world or cosmos, and her fascination with the baseball field, which she describes as an “idealized schema that spreads itself out in a verdant map of the female body.”
Alec Wilkinson, raised in the bilingual worlds of Cape Cod summers and New York winters, discovered he had talents in sports, music, and writing. Following college, he took a job in Wellfleet as a policeman for a year, writing an illuminating first book, Midnights: A Year with the Wellfleet Police. In 1980, he became a staff writer at the New Yorker, where he published many long-form profiles developed into ten books on an eclectic list of subjects, one of which, The Happiest Man in the World, portrays David Pearlman, whose raft, named Town Hall, was constructed of found materials from Provincetown beaches and somehow sailed across the North Atlantic. Wilkinson is known at the New Yorker as their “Fringe Critic,” adept at writing expertly about on-the-run investigations.
Provincetown Arts sells on the newsstand for $15, well below the cost of production for each copy. Each year, we are challenged to maintain this reasonable rate and are only able to continue to publish through the generous donations of subscribers and friends. Names of individuals and organizations who donate $50 or more will be printed on our Contributors Page preceding our table of contents.