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OUR LIFE Monthly, published by Ukrainian National Women's League of America Vol. XLVII JUNE 1990 Editor: Marta Baczynsky JURKO BOJKO SHLJACH, A NEW WAY FOR THE ARTS IN UKRAINE Товариство "Шлях" на від критті ви ставки Опанаса Заливахи. Зліва на право В. Кауфман, Ю. Бойко, О. За- ливаха, П. Гуменюк, О. Бойко, Ю. Кох, М. Крицький, А. Гуменюк, Ю. Юркевич. Association "Shljach" at the opening of the art exhibition of Zalyvacha. Standing fr. I: Kaufman, Bojko, Zalyvacha, Hu meniuk, Bojko, Koch, Kryckyj, Humeniuk and Jurkevych. Totalitarianism in a time frame is characterized by stagnation of the political, economic and cultural life. That’s why in the last few years we found it necessary to clean up the creative atmosphere in Ukraine from the artificial and unwelcome conjectures. Isn’t the most important task for today the uprooting of the mundane in preparation for a pure environment conducive to a genuinely creative process? This is an enormous under taking, considering that in the last seventy years the cul tural environment was so demoralized that to bring it back to health would take years and years. The socialistic approach to the arts, socialist real ism, created by the totalitarian system destroyed an artist’s every original initiative. As for artists who could not or would not adhere to the principal of “equality” for all, they were taken care of quickly; they were physically destroyed (executed or sent to labor camps). Others were destroyed morally and were “reconditioned” and in that state they created the “new socialist art.” This then was the party activity pertaining to culture in socialist Ukraine. In the 1920’s and 1930’s Halychyna was the real center of European art. Artists such as S. Hordynsky, V. Perebyjnis, O. Hryszenko, M. Hluszenko, M. Butovych, M. Andrijenko-Hechytajlo, among others, educated in Europe, were acclaimed for their talent in European art circles and through them the world became acquainted with and appreciated Ukrainian art. In exhibitions which were mounted in Halychyna side by side with the works of I. Trush, O. Novakivsky, P. Kowszun, M. Butovych, L. Getza, J. Muzyka, P. Cholodnyj, M. Osinchuk, R. Selsky, W. Lasovsky, R. Lisovsky, O. Kulchycky, were exhibited the works of Van Dongen, Severini, Tocci, Picasso and others. Many art associations thrived at that time, among them “Rub” which was an ideologically motivated group of artists who were students of Oleksa Novakivsky; ANUM, which was an association of free Ukrainian artists; “Artes”, “Spokij”, “Zarevo” — the latter two were associations of Ukrainian artists in Warsaw and Krakow. These associations produced publications which contained highly professional articles which analyzed artistic trends and tendencies, and were written by indi viduals such as W. Sichynsky, P. Kowszun, S. Hordynsky, V. Lasowsky, B. Chmeliuk, O. Hryszczenko, among oth ers. (At that time the arts were not contaminated with party politics nor were they twisted as they are today). The design aspect of the printing and publishing indus- Видання C оюзу Українок A мерики - перевидано в електронному форматі в 2012 році . A рхів C У A - Ню Йорк , Н . Й . C Ш A.
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