Wednesday, September 15, 2010

Vyt Bakaitis and Nancy Kuhl

Saturday, December 4, 2010 at 2pm

The Gallery at R&F Handmade Paints
84 Ten Broeck Avenue
Kingston, NY 12401

A $5 donation is suggested.

For directions please visit R&F’s website.

Vyt Bakaitis, a native of Lithuania, has been living in New York City since 1968. His book of poems, City Country, appeared in 1991 (Black Thistle Press, NYC), and CON/STRUCTS, his book of visual poems and photographs, came out in a limited edition in 2001 (Arunas K. Photo+Graphics, NYC). A new book of poems, Deliberate Proof, is due to come out by year’s end (Lunar Chandelier Press, NYC).

Vyt has also published translations of poetry from several languages. His versions of the classic Romantics Hölderlin and Mickiewicz are included in Norton's World Poetry (1998). In 1996 his versions of two early books of Lithuanian poems by Jonas Mekas, Idylls of Semeniskiai and Remeniscences, came out in a bi-lingual edition (There Is No Ithaca, Black Thistle Press). The Lithuanian Writers’ Union subsequently published two bi-lingual volumes of his selections from 20th-century Lithuanian poetry: XL Poems by Julius Keleras (1998) and the anthology Breathing Free (2001). In 2003, Daybooks 1970-1972, the second book of his translations from Mekas appeared (Portable Press at Yo-Yo Labs, NYC).

Nancy Kuhl is the author of Suspend (2010), The Wife of the Left Hand (2007), and chapbooks including The Nocturnal Factory (2008). She is co-editor of Phylum Press, a small poetry publisher and Curator of Poetry of the Yale Collection of American Literature at the Beinecke Rare Book and Manuscript Library.

In the Gallery at R&F:

Sean Sullivan's Lost on Roads - Opening Reception Saturday December 4th, 5-7pm / Artist talk at 5pm. The exhibit runs through January 22nd, 2011.

Lost on Roads is a solo exhibition of new works by Rosendale painter and R&F paint-maker, Sean Sullivan. Sean does his best thinking on the move, in the car, the radio on. The world disappears. Thus, Lost on Roads is a travelogue of sorts, a postcard, a found film – a document as honest as the artist could make at this time. When Sullivan first began to think about ideas to pursue for this show, a few unsaid, unwritten rules emerged in regard to theme and process. As for process, it was very clear that the art making needed to be simple, direct and quick – even easy, in terms of execution. Most of the work was done using pigment sticks on paper or a combination of encaustic medium and charcoal on paper.


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