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D. Specialized: embracing one direction or objective: 1. emphasis on specific folk art expression such as embroidery, pysanky, ceramics, woodwork, metal work, etc. 2. emphasis on specific artisans, such as those who created in the Ukrainian decorative folk art genre. 3. emphasis on specific artisitic expression, such as woodcarving from the Hutsul region of Ukraine. 4. emphasis on a particular subject, such as sym bolism in Ukrainian pysanky, embroidery, etc. A. National Scope The most often arranged exhibitions of Ukrainian folk art fall into this category since it invites the presen tation of all examples of artistry — embroidery, wood work, ceramics, pysanky decorating, etc. This is also the most difficult category of exhibition to present properly and is best left to professional institutions such as museums. The tendency in this category more often than not is to show everything which the organizers have or can borrow. Few people in the community are serious col lectors of Ukrainian folk art who can also document an object, i.e., identify its place of origin, its approximate age, determine its place within the context of cultural development and its artistic value. Most individuals have objects that are aesthetically pleasing to them which they have purchased or received as gifts, or objects that are family heirlooms. This of course, encompasses a wide range of unknowns. These objects then are the ones which make their way to various exhibitions and are entrusted to represent Ukrainian folk art. In the national scope category it is very important to identify the regional origins of the objects to be dis played. Objects from one specific region, especially if they are part of an ensemble such as a folk costume must be kept together. A Hutsul shirt cannot be tucked into a plakhta from the Podolia region to make a folk costume. But, several shirts from different areas can be grouped together as a display of embroidered shirts from Ukraine. Several plakhty representing various re gions of Ukraine can also form an interesting exhibition grouping. A full Ukrainian folk costume is beautiful to see, but to achieve this perfect picture, it must be correctly assembled. Not only must every part of the costume correspond to its regional origins, but tradition dictates the proper way to wear each piece of clothing. It is imperative to have a basic knowledge of Ukrain ian folk art before attempting to mount any folk art exhibition. Right at the beginning such knowledge gua rantees the elimination of objects which are not native in the Ukrainian folk art classification, such as wooden Easter eggs. It eliminates objects displaying obvious foreign influences and those which lack the time-ho nored characteristics of style, design and craftsmanship of Ukrainian folk art. (Example: in woodwork — cheap imitations of inlaid and woodcarving work produced en masse in Ukraine under the Soviet system; in ceramics: mass produced, printed designs on dishes, vases, etc. which are always sold at Ukrainian festivals.) There are many ways in which folk art of Ukraine can be presented in exhibit, even in small spaces. The optimum way is to offer a few objects from various categories. Choose only the best examples from each category those that truly represent that category, those in the finest condition. It is wise to display not too many objects from each group. Overcrowding lessens the desired effect and confuses the viewer. B. Regional Scope Exhibitions of this type limit themselves to present ing objects from specific regions of Ukraine, such as those from the Hutsul region, from Polissia, from the Poltava region, etc. Although the overall characteristics of a particular region are identifiable, there are noticea ble differences between towns, villages or areas. The exhibition can emphsize these differences to show the ingenuity of the local artisans in diversification, while retaining the basic aspects hoimogeneous to that region. A regional folk art exhibition should aim to show the viewer the special attributes in the folk arts of that particular region. The exhibition may present various folk art expressions such as embroidery, ceramics, pysanky, woodwork, and metalwork indigenous to that area. Objects may also be mounted in a way which would indicate the similarities in designs, motifs or color schemes in otherwise unrelated art forms. For example: similarities in motifs and coloration in embrodiery may also be found in pysanky designs within the same region (as in the Borshiv region, where floral themes and the color black are predominant). Incorporating researched information about the region into the exhibition will enrich it, as well as enhance the viewer’s appreciation. C. Thematic Ukrainian folk art exhibitions presented according to specific themes can be very interesting, educational an enjoyable both for the organizers as well as for the viewers. The most popular themes and those which lend themselves to easy interpretation into exhibitions are drawn from religious holidays such as Christmas and Easter, or from social events such as weddings. There are many ways in which thematic exhibitions can be presented to show the versatility and richness of Ukrainian folk art. The staging of a Vertep at Christmas time shows one aspect of the holiday, a concert of car ols shows another, while a presentation of traditional holiday foods, especially baked goods is still another. 18 ’’НАШЕ ЖИТТЯ”, ТРАВЕНЬ 1993 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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