JUNE 12 – 16, 2019 

7 PROJECTS for THE PROVINCETOWN INTERNATIONAL FILM FESTIVAL. Six artists have made projects that intersect with the Film Festival’s mission and programming. They are: Alan Strack/ Amy Arbus and Martha Posner/ Joel Janowitz/ Lauren Ewing/ Jefferson Hayman/ Faith Hubley/ and Kahn and Selesnick. The exhibition is on view from June 12 – 16, 2019.



LIGHTREEL, created by Brooklyn-based Artist + Designer, ALAN STRACK, is a collection of cinematic inspired artworks which feature original 16 & 35mm movie film that is backlit and showcased in handmade wooden light boxes. Each one of kind piece features a different film and is a unique expression of abstract light and color.  The perfect addition to the modern film lovers’ collection or center piece for your entertainment room.

Alan Strack has deep roots in the world of cinema and his early love of movies is what inspired the creation of LIGHTREEL. His Grandfather, Harold DeGraw, better known as ONEONTA’S MOVIE MAN got his first job in a theatre in upstate NY when he was 13 and went on to open one of the first drive-in theaters in the United States in Cambridge, MD, 1952. In 1961 the Degraws returned to Oneonta NY and opened the Oneonta Theatre and Showcase Cinema. It was at these two theaters where Alan’s first memories and love for film were born.  “I can remember playing with spools of film that my grandfather would give me in the projection booth.  I was fascinated by them on many levels and still am.” When his grandparents’ theatres closed in 1999 Alan inherited an extensive catalog of movie trailers which was about to be thrown away. Many years, and layers of dust later, Alan conceived a concept of how a series of small images could combine into a larger abstract visual art piece. “I was inspired by the lightboxes I had seen outside of the theatres as a young boy. At the most basic level, my light boxes are an abstracted version of the original movie poster. All the elements from the film are there, only they are transformed into a overall grid pattern of light and color.”

After working at NIKE as an Art Director for 14 years, creating visuals for some of the world’s top athletes i.e. Michael Jordan, Lebron James, Kobe Bryant, Russel Westbrook and Carmelo Anthony, Alan decided to his return to his family roots in film and create LIGHTREEL in 2018.


AMY ARBUS and MARTHA POSNER present A #METOO PROJECT. Since the early 1990s, much of Martha Posner’s paintings and sculpture has been about the women’s issues of inequality, sublimation, and abuse. She made a piece made out of honeysuckle vines of a woman having been raped called, Leda, after the myth. Then came her Garment series inspired by dark fairytales of victimized little girls. In 1998, she began her Frozen Charlotte series, of naked porcelain dolls bruised and bleeding like prepubescent girls. Many of Martha’s pieces contain elements from the animals and garden on her farm. Her work is fearless, raw, sexual, powerful and straight from the heart. When the #MeToo movement broke, Martha realized that her story was almost every woman’s story. She was possessed with the need to create something that acknowledged the wounds of the past. Martha found vintage slips and bed coats to honor the women who had worn them before. Upon these garments she meticulously hand wrote the words “metoo” countless times all over them.

Amy Arbus’ disarming, kind, gentle nature has earned her a reputation for being the photographer for delicate situations. People tend to trust her because she has a genuine curiosity in human nature and a lack of guile. Amy is known for her style feature, On The Street, which ran in The Village Voice from 1980-1990. She has five books, including No Place Like Home, about people whose interior design echoes their personalities. In The Fourth Wall she explored fictional and true identities by picturing on and off-Broadway actors in costume, in character but out of the context of the play. Amy’s work is deceptively simple but is also straight forward, revealing, passionate, and intensely personal.

For Amy it wasn’t until 2015 that her photographs began focusing on women. She made portraits of timeless beauties that showed their strength, courage, bravery, self-confidence, vulnerability and tenacity. Amy felt there was a political message that was missing from Goddesses and ultimately the project never came to fruition.

It was the day after Thanksgiving 2018 at Martha’s studio, when Amy first saw Martha’s slips and was stunned by the fact that her Goddesses were also wearing antique slips. For Amy, “metoo” was the missing piece. They decided to collaborate. Amy’s seventeen photographs were made on January 20th, 2019. Posner and Arbus were touched by the willingness of the women to get half naked and revisit a dark place. The complex feelings in the room were palpable. Some women felt sad, depressed and inadequate. Others felt completely comfortable in their own skin. Amy’s photographs are intended to show the women coming out of the shadows and into their own.

The two artists will present and installation of Martha’s hand written garments with Amy’s photographs of the chosen women wearing Martha’s wardrobe. Martha collected the women’s actual stories and will include them as part of the exhibit without attributing them to specific people.

JOEL JANOWITZ will present new paintings and works on paper. Joel Janowitz has exhibited widely. To date he has had over thirty solo exhibitions. His work can be found in numerous public collections including the Whitney Museum of American Art, the Minneapolis Institute of Arts, The Boston Museum of Fine Arts, the Harvard Museums, and the Yale University Art Gallery.

In 2016 Janowitz received his fourth Artist’s Fellowship in painting from the Massachusetts Cultural Council. In 2013 The John Simon Guggenheim Foundation honored him with a Guggenheim Fellowship. He has twice received artist grants from the National Endowment for the Arts. Janowitz has taught at Wellesley College (2003-2010), Massachusetts College of Art/Fine Arts Work Center’s Low-Residency MFA program (2006-2010), and the School of the Museum of Fine Arts, Boston (1994-2000). He received his B.A. in Psychology from Brandeis University in 1967 where he studied painting with Philip Guston and drawing with Michael Mazur. He received an M.F.A. in Painting from the University of California, Santa Barbara in 1969.

LAUREN EWING presents DEEP FOREST WITH FIREFLY CHANDELIERS (AFTER JOAN MITCHELL) a suite of three 60 x 60” photographic monotypes made with paint, coal dust and duotone on panel.

There are 3 forests in each Deep Forest… a duotone image of a forest at dusk, silhouettes from Joan Mitchell’s 1992 drawing “Trees 111” and coal dust from ancient forests buried deep in the earth. When we burn coal to illuminate our lives and extend our powers we are burning three hundred million year old trees. As you walk by each Deep Forest…, firefly chandeliers appear and disappear drawing the eye beyond the silhouettes and into the forest. Fireflies are the most efficient producers of light in the world and they signal to one another for love and friendship in the dark. The idea of the minor lights of desiring beings coming together to make something of beauty, larger than themselves, is to me the power of poetic impossibility. Their minuscule beauty serves as a poetic counterforce to the artificial brilliance of empire that fills our screens day and night.

JEFFERSON HAYMAN works with the themes of nostalgia, resonance, common symbols and memory. He lives and works in Tappan, NY a small town located minutes outside of Manhattan and filled with the history of the American War of Independence. From his training and environment Hayman has forged an individual visual sensibility. His photographs are handcrafted silver gelatin, platinum and archival pigment prints that seem historically timeless, captured with a delicacy of tone that harks back to the highest traditions of graphic art. The works are then paired with antique or artist made frames which place each piece into the realm of unique statements. His work can be found in many private and public collections, most notably The Museum of Modern Art Library, The New York Public Library, President Bill Clinton, Robert DeNiro, The Boston Athenaeum and Ralph Lauren. View Jefferson Hayman’s photographs HERE. 


FAITH HUBLEY (1924 – 2001) was an animator, known for her experimental work both in collaboration with her husband John Hubley, and on her own following her husband’s death. Born to Russian-Jewish emigrants, Hubley grew up with three siblings on Manhattan’s West Side during the 1920s and 1930s. She spoke little about her childhood and left home at age 15 to work in the theater, adopting the name Faith Elliott. At age 18, she moved to Hollywood, starting as a messenger at Columbia Pictures. She subsequently worked as a sound-effects and music editor, and then script clerk for Republic Pictures. She later worked as a script supervisor (12 Angry Men) and editor (Go, Man, Go; with the Harlem Globetrotters). Faith Hubley married John Hubley in 1955.

The Hubleys jointly founded Storyboard Studios as an independent animation studio, vowing to make one independent film a year. They collaborated on more than 20 short films until John Hubley’s death in 1977. At that time they were working on the Doonesbury television cartoon, A Doonesbury Special. Faith Hubley, with Garry Trudeau and Bill Littlejohn, completed the special despite the doubts of NBC executives. The Hubleys won Oscars for their shorts: Moonbird (1959), The Hole (1962) and A Herb Alpert and the Tijuana Brass Double Feature (1966); they also received Oscar nominations for Windy Day, Of Men and Demons, Voyage to Next and A Doonesbury Special. Her many solo projects established her as a significant film creator in her own right. She began her first solo project, W.O.W. (Women of the World), after being diagnosed with “terminal” breast cancer in 1975.

Between 1976 and 2001, she completed 24 further solo animated films. Her films often feature abstract imagery and non-linear stories; many draw on themes of mythology and indigenous art. She was also a painter, with her works being exhibited in galleries in Europe and the United States.

Faith Hubley received honors from the Cannes, Venice, London, and San Francisco film festivals. She won fourteen CINE Golden Eagle awards, and received honorary doctorates from the University of Chicago, Columbia College, and Hofstra University. Her 1981 animated film “Enter Life” can be seen at the Smithsonian Institution’s National Museum of Natural History, as part of the Early Life exhibit. In 1995, the National Gallery of Art presented a retrospective program of her works.


KAHN and SELESNICK are a collaborative team who work primarily in the fields of photography and installation art, specializing in fictitious histories set in the past or future. For this exhibition they will present an immersive installation complete with over 75 photographs, sculptures of masks, costumed characters and a pangolin made of clay. The duo will have an exhibition in 2020 at the Provincetown Art Association and Museum. Parts of the installation for this exhibition were developed at their 2019 residency at 20Summers, a Festival partner.

RICHARD SELESNICK and NICHOLAS KAHN have been collaborating as Kahn & Selesnick since 1988 on a series of complex narrative photo-novellas and sculptural installations. They were both born in 1964, in New York City and London respectively and both are British citizens. They met at Washington University in St Louis where they collaborated informally from 1982-86 as photography majors. After graduation and a couple of years of showing their art separately they migrated to Cape Cod, Massachusetts to work on an evolving series of projects, some painting based, some photo based, all involving fictional attributions, narratives and sculpture. Between 1988 and 1995 they worked on installations combining painted portraits on plaster panels, bread, honey and wax sculptures displayed in wooden ritual architecture. A residency at The Fine Arts Work Center in Provincetown Massachusetts helped them create an elaborate full-scale oaken chapel; ‘Der Ruteloft des Bet’ubten Bienenkaisers (The Rood-Loft of the Drunken Beekeeper) with 120 painted panels, all of heads in profile sprouting psychoactive plants from their mouths.

Kahn & Selesnick’ s works are tactile and bodied, offering sleight of hand and the quicksilver flash of inspiration as interruptions to our habitual ways of seeing, instead encouraging us to feel the Earth and its history and to know our part in its unfolding story. The results are masterfully executed non-linear tales that appear to dream themselves.

Nicholas Kahn lives in Ghent, NY with writer, activist and healer Sarah Falkner along their cats, and three hermit crabs. Richard Selesnick lives in the village of Barrytown, NY, with his wife, child, border collie, and a deft mouser. They maintain satellite branches of the Royal Excavation Corps in Bantry , County Cork, Ireland, and in Truro, Cape Cod. They are currently recreating the famous Truppe Fledermaus’s Memory Theatre of 1932 with its full compliment of Batfolk, Greenmen, Rope-Slingers, and Death-Dancers in all their Carnivalesque glory.

View images from Kahn & Selesnick HERE.