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9. "Sittin’pretty." Guests at the opening reception.. Sitting fr. I. S. Soldan, I. Zownir, T. Bohachevsky. Standing fr. I. V. Shul, L. Jarema. will have a totally new configuration and design. Per haps the staffers will have to learn a new trade (metal work?) ir order to put up the new exhibit. No matter, for one of the greatest talents of the staff members of the Ukrainian Museum is the ability to meet every new chal lenge head on — successfully. M a rta B a c zy n s k y ABOUT WOMEN “In his universal concepts and deeply spiritual philo sophy, Alexander Archipenko’s art appeals to the whole of ‘cultural’ endowments because of its purity and ele gance. As music is considered a universal language, so, too, does Archipenko’s art transcend national boundar ies and capture the aesthetic sources of a moment in history which belongs exclusively to the future. This is true because his art surpasses time and place. In this respect, Archipenko did everything sooner and more brilliantly than his peer international clientele." The above quotation is a definitive assessment of the impact of Archipenko’s extraordinary contribution to the whole cultural movement which we regard and recognize today as twentieth-century art. This perceptive evaluation was made by Dr. Oksana Ross in a resume in her doctoral dissertation “The Role of Archipenko in 20th Century Art”. Alexander Archipenko’s art is not elusive and epher- meral. He was an intense artist by profession and his work was embraced by the stream-lined intelligentsia of his time. He felt closer to abstraction than to traditional realism. Although some critics tire of minimal and con ceptual art, Archipenko remains a renowned and favored artist, a true aristocrat among his peers and a brilliant exponent of a whole new cultural movement. We are all aware of the fact that the tides of change may prove difficult to stem. However, we must learn to appreciate and calmly evaluate new beginnings, innova tive approaches. We are fortunate, indeed, to have Oksana Ross in our midst. Oksana Ross is acutely aware of the drama Archipenko delivered to the world of art. She tells us that the world’s true art colony reveres the extra dimen sion Archipenko so masterfully depicted. Dr. Ross is eager to share with us her hands-on knowledge of the work of this prominent Ukrainian sculptor and the personal character of the MAN. Dr. Ross studied with Archipenko and has assiduously fol lowed his meteroic rise in the international art colony. In discussing his philosophy with Oksana, Archi penko recollected his life in Ukraine and the spiritual impact of the Byzantine culture on his art. She is, there fore, able to trace the roots of Archipenko’s approach and multiplicity — his birth, his life in Ukraine, his initial beginnings in Kiev, his recognition and acceptance in Moscow, Paris, New York. In order to preserve and perpetuate the greatness of our Ukrainian giant, Dr. Ross has given (and will eagerly give more!) lectures based on “The Role of Archipenko in 20th Century Art”. For example, last spring Dr. Ross spoke at Boylston Hall at Harvard University. The inter est was especially significant as it coincided with the time that Archipenko’s work was on exhibit at the National Gallery of Art in Washington, D.C. Subse quently, Dr. Ross has lectured at the Ukrainian Institute of Modern Art (Chicago, Illinois), St. Andrew’s Parish Center (Silver Spring, Maryland), St. Sophia’s Religious Center (Washington, D.C.), Ukrainian Center (Philadel phia, Pennsylvania), University of Denver (Denver, Colorado), Ukrainian Engineers (Warren, Michigan), University of Michigan and Wayne State University (Detroit, Michigan). While Oksana Ross serves as an arbiter (artist, musician, art historian), her impeccable credentials are worth noting. Dr. Ross was born Oksana Bezruchko (father: Leo Bezruchko, editor of “Narodna Volya” and mother: Sophia Haevska, author and teacher at Berlitz School of НАШЕ ЖИТТЯ” БЕРЕЗЕНЬ 1988 19
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